/^BERKELEY 

LIBRARY 

I      UNIVERSITY  OF 
V       CALIFORNIA      / 

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ANTHROPOLOGY 


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19    LIBRARY  OF 

S.  A.  BARRETT 


AXCIKNT  ART 


OK  Tin: 


PROVINCE  OF  CHIRIQUI,  COLOMBIA. 


WII.I.IAM     H.    IIOI,MKS. 


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19     LIBRARY  OF- 

S.  A.   BARRETT 


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CONTENTS. 


Page 

Introduction li! 

Geography 18 

Literature 14 

Peoples 15 

The  cemeteries Hi 

The  graves 17 

Human  remains 20 

Placing  of  relics 21 

Objects  of  art 21 

Stone 21 

Pictured  rocks 21 

Columns 22 

Images 28 

Mealing  stones 25 

Stools 27 

Celts  &c 29 

Spearheads 34 

Arrowpoints 34 

Ornaments 34 

Metal 35 

Gold  and  copper 35 

Bronze 49 

Clay:  Pottery 53 

Preliminary 53 

How  found 55 

Material 55 

Manufacture 56 

Color 57 

Use  57 

Forms  of  vessels 5S 

Decoration 62 

Unpainted  ware 66 

Terra  cotta  group (>7 

Black  incised  group 80 

Painted  ware 84 

Scarified  group 87 

Handled  group 90 

Tripod  group 97 

Maroon  group 107 

R«l  line  group 109 

White  line  group Ill 

Lost  color  group 113 

Alligator  group 130 

Polychrome  group 140 

Unclassified  147 

5 


668 


CONTENTS. 


(  thjects  of  art  —  (  'imtinut'cl. 

Clay  :  Miscellaneous  objects  ..........................................  14!) 

Spindle  whorls  ....................................................  U!) 

Needlecases  .......................................................  150 

Figurines  .........................................................  !•">! 

Stools  ............................................................  154 

Musical  instruments  ...............................................  156 

Rattles  .......................................................  Iflfi 

Dnims  .......................................................  l.r>7 

Wind  instruments  ............................................  160 

ijife  forms  in  vase  painting  ............................................  171 

Resume  .  .  ,  ......  ,  ,  .  ,  ...............  186 


ILLUSTRATIONS. 


Page. 

PLATE  I.  Map  of  Cliiriqui 

FIG.     1 .  Section  of  oval  grave 

2.  Section  of  a  quadrangular  grave 

3.  Grave  with  pillars 

4.  Compound  cist 

5.  Southwest  face  of  the  pictured  stone 

(i.  A  goddess  of  the  ancient  Chiriqiiiuns 

7.  A  god  of  the  ancient  Chiriquians 

8.  Fragmentary  human  figure  in  gray  basaltic  rock 

9.  Mealing  stone  with  large  tablet  ornamented  with  animal  heads 

10.  Puma  shaped  nictate 

11.  Stool  shaped  object 

12.  Stool  with  columnar  base 

13.  Stool  with  perforated  base 

14.  Large  partially  polished  celt 

1">.  Celt  of  hexagonal  section 

10.  Small  wide  bladed  celt 

17.  Celt  with  heavy  shaft 

18.  Celt  or  ax  with  constriction  near  the  top 

19.  Flaked  and  partially  polished  celt 

20.  Well  polished  celt 

21.  Narrow  pointed  celt 

22.  Narrow  pointed  celt "•' 

23.  Cylindrical  celt  with  narrow  point 33 

24.  Leaf  shaped  objects  suggesting  spearpoints 

25.  Arrowpoints ''•* 

26.  Human  figure,  formed  of  copper-gold  alloy 

27.  Grotesque  human  figure  in  gold 

28.  Rudely  shaped  human  figure  in  gold 

29.  Grotesque  human  figure  in  nearly  pure  copper 

30.  Grotesque  human  figure  in  nearly  pure  gold 

31.  Rudely  executed  image  of  a  bird  in  gold 

32.  Image  of  a  bird  in  gold 

33.  Puma  shaped  figure  in  gold 

34.  Puma  shaped  figure  in  base  metal 

35.  Quadruped  with  grotesque  face  in  base  metal 

36.  Figure  of  a  fish  in  gold 

37.  Large  figure  of  a  frog,  in  base  metal  plated  with  gold. . 

38.  Small  figure  of  a  frog,  in  base  metal  plated  with  gold 

39.  Figure  of  an  alligator  in  gold 

40.  Animal  figure,  in  base  metal  plated  with  gold 

41.  Bronze  bells  plated  or  washed  with  gold  

42.  Bronze  bell  with  human  features 50 

43.  Triple  bell  or  rattle  found  on  the  Rio  Grande 51 

7 


X  IU.VSTKATION8. 

t 

Page. 

Km.  44.  Ancient  Mexican  1*41 51 

4").  Fundainental  forms  of  vases  —  convex  outlines 38 

40.  Fundamental  forms  of  vases  —  angular  outlines   59 

47.  Vases  of  complex  outlines  —  exceptional  forms 59 

48.  Vases  of  compound  forms 59 

49.  Square  lipped  vessel 59 

50.  Variations  in  the  forms  of  necks  and  rims 00 

51.  Arrangement  of  handles (iO 

52.  Types  of  annular  bases  or  feet 01 

58.  Forms  of  legs 61 

54.  Grotesque  figure  forming  the  handle  of  a  small  vase 03 

55.  Grotesque  figure  forming  the  handle  of  a  small  vase 63 

56.  Grotesque  figure  forming  the  handle  of  a  small  vase 63 

57.  Monstrous  figure  with  serpent  sha|x*d  extremities 63 

58.  Monstrous  figure  with  serpent  shaped  extremities 03 

59.  Grotesque  figure  64 

(iO.  Grotesque  figure 64 

61.  Grotesque  figure 64 

02.  Figure  of  a  monkey 64 

03.  Figure  of  a  monkey    04 

64.  Figure  of  a  monkey 04 

05.  Animal  forms  exhibiting  long  proboscis 05 

60.  Vasa  illustrating  ornamental  use  of  animal  figures 05 

67.  Vase  illustrating  ornamental  use  of  animal  figures 05 

08.  Vase  illustrating  ornamental  use  of  animal  figures 66 

09.  Vase  illustrating  ornamental  use  of  animal  figures 60 

70.  Series  of  bowls  and  cups  of  unpainted  ware 67 

7 1 .  Vase  of  graceful  form 68 

73.  Vase  of  graceful  form 68 

73.  Vase  of  fine  form,  ornamented  with  grotesque  heads 68 

74.  Vase  of  fine  form,  ornamented  with  grotesque  heads 69 

75.  Vase  with  ornament  of  applied  nodes  and  fillets 69 

76.  Vase  with  mantle  covered  with  incised  figures 70 

77.  Vase  with  frieze  of  grotesque  beads 70 

78.  Vases  with  flaring  rims  and  varied  ornament 71 

79.  Vases  with  complex  outlines  and  varied  ornament 71 

80.  Large  vase  with  two  mouths  and  neatly  decorated  necks 72 

81.  Large  vase  with  high  handles 72 

82.  Top  view  of  high  handled  vase 73 

N3.  Handled  vase 73 

84.  Handled  vase 73 

85.  Handled  vase 73 

80.  Small  cup  with  single  handle,  ornamented  with  grotesque  figure  ...  74 

87.  Small  cup  with  single  handle,  ornamented  with  grotesque  figure  ...  74 

88.  Vase  of  eccentric  form 74 

89.  Vessel  illustrating  forms  of  legs 75 

90.  Vessel  illustrating  forms  of  legs 75 

91.  Vessel  with  large  legs,  decorated  with  stellar  punctures 75 

92.  Vases  of  varied  form  with  plain  and  animal  shaped  legs 75 

93.  Large  vase  of  striking  shape 76 

94.  Cup  with  legs  imitating  animal  forms 76 

95.  ('up  with  legs  imitating  a  grotesque  animal  form 77 

96.  ( 'up  with  legs  imitating  the  armadillo 77 


IM.CSTKATmXS. 


Fl<l.  97.  Cup  with  legs  imitating  the  iirin:i(liMi> r^.,-r^\  77 

98.  Clip  with  frog  shaped  legs 77 

99.  Clip  witli  legs  imitating  an  animal  and  its  young 77 

100.  Cups  supported  by  grotesque  heads 77 

1(11.  I^arge  cup  supported  by  two  grotesque  figures 78 

102.  Cup  with  two  animal  heads  attached  to  the  sides 78 

103.  Cup  with  two  animal  heads  attached  to  the  sides 7H 

104.  Vase  shaped  to  imitate  an  animal  form 79 

10').  Vase  shaped  to  imitate  an  animal  form 79 

106.  Vase  shaped  to  imitate  an  animal  form 79 

107.  Fish  shajK'd  vessel 79 

108.  Top  view  of  a  (ish  shaped  vessel SO 

10!).  Cup  with  grotesque  head  attached  to  the  rim so 

110.  Black  cup  with  incised  reptilian  figures si 

111.  Black  cup  with  incised  reptilian  figures si 

112.  Black  vase  with  conventional  incised  pattern SI 

113.  Small  cup  with  conventional  incised  pattern 82 

114.  Small  tripod  cup  with  upright  walls S3 

115.  Vase  with  flaring  rim  and  legs  imitating  animal  heads 82 

116.  Vase  modeled  to  represent  the  head  of  an  animal 83 

1 1 7.  Pattern  upon  the  hack  of  the  vase 83 

118.  Tripod  liowl  of  red  scarified  ware 87 

119.  Tripod  Ixwl  of  red  scarified  ware 87 

120.  Oblong  basin  with  scarified  design 88 

121.  Large  scarified  l)owl  with  handles  imitating  animal  heads 88 

122.  Jar  with  flat  bottom  and  vertical  bands  of  incised  ornament 8!) 

123.  Vase  with  stand  and  vertical  incised  bands s(» 

124.  Vase  with  handles,  legs,  and  vertical  ribs S9 

125.  Tripod  with  owl-like  heads  at  insertion  of  legs «M) 

126.  Tripoli  with  legs  rudely  suggesting  animal  forms 90 

127.  Heavy  red  vase  with  four  mouths 90 

128.  Vase  with  horizontally  placed  handles  and  rude  designs  in  red !)1 

129.  Unpolished  vase  with  heavy  handles  and  coated  with  soot 92 

130.  Round  bodied  vase  with  unique  handles  and  incised  ornament 92 

131.  Vase  with  grotesque  figures  attached  to  the  handles 93 

132.  Vase  with  upright  handles  and  winged  lip !);! 

133.  Top  view  of  vase  with  winged  lip SI4 

134.  Vase  with  grotesque  animal  shaped  handles 94 

135.  Vase  with  handles  representing  strange  animals 95 

136.  Vase  with  handles  representing  grotesque  figures 95 

137.  Vase  with  handles  representing  animal  heads 96 

138.  Vase  with  arched  handles  eml>ellished  with  life  forms  in  high  relief .  .  .  9(5 

139.  Vase  with  arched  handles  embellished  with  life  forms  in  high  relief . .  .  97 

140.  Tripod  vase  with  shallow  basin  and  eccentric  handles 99 

141.  Tripod  vase  with  shallow  basin  and  eccentric  handles !I9 

142.  Tripod  vase  with  shallow  basin  and  eccentric  handles 99 

143.  Tripod  vase  of  graceful  sha)>e  anil  neat  finish 100 

144.  Heavy  tripod  vase  with  widely  spreading  feet 100 

145.  Neatly  modeled  vase  embellished  with  life  forms  and  devices  in  red .  .  .  101 

146.  High  tripod  vase  with  incised  designs  and  rude  figures  in  red 101 

147.  Handsome  tripod  vase  with  scroll  ornament 102 

148.  Vase  with  lizard  shaped  legs 102 

149.  Vase  with  scroll  ornament 103 


1 1)  ILLUSTRATIONS. 

Page. 

FIG.  150.  Large  vase  with  flaring  rim  and  widespreading  legs 103 

151.  Fragment  of  a  tripod  vase  embellished  with  figure  of  an  alligator.  104 

152.  Vase  supported  by  grotesque  human  figures 105 

153.  Eoun  1  bodied  vase  embellished  with  figures  of  monsters 106 

154.  Cup  with  incurved  rim  and  lif(?  form  ornamentation 107 

155.  Cup  with  widely  expanded  rim  and  constricted  neck 107 

156.  Small  tripod  cup  with  animal  features  in  high  relief 108 

157.  Handsome  vase  supported  by  three  grotesque  figures 108 

158.  Vase  decorated  with  figures  of  frogs  and  devices  in  red 110 

159.  Vase  of  unique  shape  and  life  form  ornamentation  110 

160.  Two-handled  vase  with  life  form  and  linear  decoration 110 

161.  Small  tripod  vase  with  animal  figures  in  white Ill 

162.  Shapely  vase  with  designs  in  white  paint 

163.  .Small  red  bottle  with  horizontal  bands  of  ornament.  .  115 

164.  Small  red  bottle  with  encircling  geometric  devices 115 

16.">.  Bottle  with  zone  occupied  by  geometric  devices. . 

166.  Bottle  with  broad  zone  containing  geometric  figures. . 

167.  Bottle  with  decoration  of  meandered  lines 

168.  Bottle  with  arched  panels  and  geometric  devices. . 

169.  Bottle  with  arched  panels  and  elaborate  devices. 

170.  Vase  with  rosette-like  panels 

170«. Ornament  from  preceding  vase 

171.  Vase  with  rosette-like  panels 

172.  Vase  with  rosette-like  panels 

173.  Theoretical  origin  of  the  arched  panels 

174.  Theoretical  origin  of  the  arched  panels 

17").  Theoretical  origin  of  the  arched  panels 

176.  Vase  decorated  with  conventional  figures  of  alligators 120 

177.  Portion  of  decorated  zone  illustrating  treatment  of  life  forms 121 

178.  Portion  of  decorated  zone  illustrating  treatment  of  life  forms 121 

179.  Vase  decorated  with  highly  conventional  life  forms 121 

179a.  Design  from  preceding  vase 

180.  Vase  decorated  with  highly  conventional  life  forms 122 

181.  Vase  decorated  with  highly  conventional  life  forms 123 

182.  Decorated  panel  with  devices  resembling  vegetal  growths. . .  124 

183.  Vase  of  unusual  shape 124 

184.  Vase  of  unusual  shape 

185.  Vase  of  unusual  shape 

186.  Double  vessel  with  high  arched  handle 

187.  Double  vessel  with  arched  handle 

188.  Vase  embellished  with  life  forms  in  color  and  in  relief 126 

189.  Vase  modeled  to  represent  a  peccary 127 

190.  Under  surface  of  peccary  vase 127 

191.  Small  vessel  with  human  figures  in  high  relief 127 

192.  Tripod  cup  with  figures  of  the  alligator 

193.  Large  shallow  tripod  vase  with  geometric  decoration 129 

194.  Large  bottle  shaped  vase  with  high  tripod  and  alligator  design 130 

195.  Large  bottle  with  narrow  zone  containing  figures  of  the  alligator.  .  132 

196.  Vase  with  decorated  zone  containing  four  arched  panels 133 

197.  Vase  with  four  round  nodes  upon  which  are  painted  animal  devices.  133 

198.  Vases  of  varied  form  and  decoration 134 

199.  Alligator  vase  with  conventional  markings 135 

200.  Alligator  vase  with  figures  of  the  alligator  painted  on  the  sides 135 


II.Ll'STRATIONS.  1  1 


FIG.  301.  Vase  with  serpent  ornamentation  ................................  136 

202.  Vase  representing  a  puma  with  alligator  figures  painted  on  sides.  .  137 

203.  Shallow  vase  witli  reptilian  features  in  relief  and  in  color  .........  137 

204.  Vase  with  funnel  shaped  mouth  ..................................  138 

205.  Top  view  of  vase  in  Fig.  204  ..........  ............................  139 

206.  End  view  of  vase  in  Fig.  204  .....  ................................  139 

207.  Large  vase  witli  decorations  in  red  and  black  .....................  140 

208.  Devices  of  the  decorated  zone  of  vase  in  Fig.  207,  viewed  from  above  .  141 

209.  Handsome  vase  with  four  handles  and  decorations  in  black,  red,  and 

purple  ........................................................  142 

210.  Painted  design  of  vase  in  Fig.  209,  viewed  from  above  ............  143 

211.  Vase  of  unusual  shape  with  decoration  in  black,  red,  and  purple.  .  .  144 

212.  Ornament  occupying  the  interior  surface  of  the  basin  of  vase  in 

Fig.  211  .......................................................  144 

213.  Large  vase  of  tine  shape  and  simple  decorations  ..................  145 

214.  Vase  with  extraordinary  decorative  designs  ......................  146 

215.  Painted  design  of  vase  in  Fig.  214,  viewed  from  alxive  ............  147 

216.  Vase  of  unique  form  and  decoration  ..............................  148 

217.  Painted  design  of  vase  in  Fig.  216  ................................  148 

218.  Spindle  whorl  with  annular  nmles  ...............................  149 

219.  Spindle  whorl  decorated  with  animal  figures  ......................  149 

220.  Spindle  whorl  with  perforations  and  incised  ornament  ............  149 

221.  Needlecase  .....................................................  150 

222.  Needlecase  ......................................................  150 

223.  Needlecase  with  painted  geometric  ornament  .....................  151 

224.  Needlecase  with  incised  geometric  ornament  .....................  151 

225.  Needlecase  with  incised  geometric  ornament  .....................  151 

226.  Statuette  ........................................................  152 

227.  Statuette  ........................................................  152 

228.  Statuette  .....................................................  152 

229.  Statuette  ....................................................  152 

230.  Stool  of  plain  terra  cotta  .........................................  154 

231.  Stool  of  plain  clay,  with  grotesque  figures  .................  155 

232.  Stool  of  plain  terra  cotta  ........................................  155 

233.  Rattle  ......................................... 

234.  Section  of  rattle  ..........................  157 

235.  Rattle,  witli  grotesque  figures  ................................  157 

23G.  Drum  of  gray  unpainted  clay  .............................  158 

237.  Drum  with  painted  ornament  .....................  159 

238.  Painted  design  of  drum  in  Fig.  237  ......................  '.  ........  159 

239.  Double  whistle  ................................................  161 

240.  Section  of  double  whistle  ........................................  161 

241.  Tubular  instrument  witli  two  finger  holes  .......................  162 

242.  Section  of  whistle  ........................................  162 

243.  Small  animal  shaped  whistle  ........................                   ----  162 

244.  Small  animal  shaped  whistle.  .  .  ..................................  162 

245.  Top  shaped  whistle  .............................................  163 

246.  Section,  top,  and  bottom  views  of  whistle  .......................  164 

247.  Drum  shaped  whistle  .......................................  K'r> 

248.  Vase  shaped  whistle  .........................................  165 

249.  Crab  shaped  whistle  .............................................  166 

250.  Alligator  shaped  whistle  .........................................  166 

251.  Cat  shaped  whistle  ..............................................  167 

252.  Whistle  with  four  ocelot-like  heads  ..........................  16S 

253.  .Bird  shaped  whistle  .............................................  169 


12  ILLUSTRATIONS. 

Page. 

FIG.  254.  Bird  shaped  whistle 169 

255.  Bird  shaped  whistle 170 

256.  Whistle  in  grotesque  life  form 170 

257.  Conventional  figure  of  the  alligator 173 

258.  Conventional  figure  of  the  alligator 173 

259.  Conventional  figure  of  the  alligator    174 

260.  Conventional  figure  of  the  alligator 174 

261.  Conventional  figure  of  the  alligator 174 

262.  Conventional  figure  of  the  alligator 175 

263.  Conventional  figure  of  the  alligator 175 

264.  Conventional  figure  of  the  alligator 170 

265.  Conventional  figure  derived  from  the  alligator 176 

266.  Conventional  figure  derived  from  the  alligator 176 

267.  Conventional  figure  derived  from  the  alligator 176 

268.  Conventional  figure  derived  from  the  alligator 177 

269.  Conventional  figure  derived  from  the  alligator 177 

270.  Conventional  figure  derived  from  the  alligator 177 

271.  Conventional  figure  derived  from  the  alligator 178 

272.  Conventional  figure  derived  from  the  alligator 178 

273.  Conventional  figure  derived  from  the  alligator 178 

274.  Conventional  figures  derived  fr  om  the  alligator 179 

275.  Conventional  figxire  derived  from  the  alligator 179 

276.  Conventional  figure  derived  from  the  alligator 180 

277.  Conventional  figures  derived  from  the  alligator 180 

278.  Conventional  figures  derived  from  the  alligator 181 

279.  Conventional  figures  derived  from  the  alligator 182 

280.  Conventional  figures  derived  from  the  alligator 182 

281.  Conventional  figures  derived  from  the  alligator 182 

282.  Conventional  figures  derived  from  the  alligator 182 

283.  Conventional  figures  derived  from  the  alligator 183 

284.  Vase  with  decorated  zone  containing  remarkable  devices 185 

285.  Series  of  devices 185 


ANCIENT  ART  OF  TH1:  PROVINCE  OF  CHIKIQUI. 


BY  WILLIAM  H.  HOLMES. 


INTRODUCTION. 
GEOGRAPHY. 

Until  comparatively  recent  times  the  province  of  Chiriqui  lias 
remained  almost  unknown  to  the  world  at  large.  The  isthmus 
was  traversed  a  number  of  times  by  the  conquerors,  who  published 
accounts  of  their  discoveries,  but  it  was  reserved  for  the  period  of 
railroad  and  canal  exploration  to  furnish  trustworthy  accounts  of  its 
character  and  inhabitants.  The  situation  of  Chiriqui  is  unique. 
Forming,  politically,  a  part  of  South  America,  it  belongs  in  reality 
to  the  North  American  continent.  It  occupies  a  part  of  the  great 
southern  flexure  of  the  isthmus  at  a  point  where  the  shore  lines  begin 
finally  to  turn  toward  the  north. 

The  map  accompanying  this  paper  (Plate  1)  conveys  a  clear  idea  of 
the  position  and  the  leading  topographic  features  of  the  province. 
The  boundaries  separating  it  from  Veragua  on  the  east  and  Costa 
Rica  on  the  west  run  nearly  north  and  south.  The  Atlantic  coast  line 
has  a  northwest  and  southeast  trend  and  is  indented  by  the  bay  or 
lagoon  of  Chiriqui.  The  Bay  of  David  extends  into  the  land  on  the 
south  and  the  Gulf  of  Dolce  forms  a  part  of  the  western  boundary.  A 
range  of  mountains,  consisting  principally  of  volcanic  products,  ex 
tends  midway  along  the  province,  forming  the  continental  water 
shed.1  The  drainage  comprises  two  systems  of  short  rivers  that  run, 
one  to  the  north  and  the  other  to  the  south,  into  the  opposing  oceans. 
Belts  of  lowland  border  the  shore  lines.  That  on  the  south  side  is 
from  twenty  to  thirty  miles  wide  and  rises  gradually  into  a  plateau 
two  or  three  thousand  feet  in  elevation,  which  is  broken  by  hills  and 
cut  by  canons.  This  belt  affords  a  natural  thoroughfare  for  peoples 
migrating  from  continent  to  continent,  and  doubtless  formed  at  all 
periods  an  attractive  district  for  occupation.  It  is  in  the  middle  por 
tion  of  this  strip  of  lowland,  especially  in  the  drainage  area  of  the  Bay 
of  David,  that  the  most  plentiful  evidences  of  ancient  occupation  are 
fcnuul.  Scattering  remains  have  been  discovered  all  along,  however, 
connecting  the  art  of  Costa  Rica  with  that  of  Veragua.  Panama,  and 

1  For  physical  features,  see  report  of  Lieutenant  Norton  (Report  ( 'hiriqui  Commis 
sion,  Ex.  L)oe.  41,  1860). 

13 


14  ANCIENT    ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

the  South  American  continent.  The  islands  of  the  coast  furnish 
some  fragmentary  monuments  and  relics,  and  there  is  no  doubt  that 
a  vast  quantity  of  material  yet  remains  within  the  province  to  reward 
the  diligent  search  of  future  explorers. 

LITERATURE. 

The  antiquarian  literature  of  the  province  is  extremely  meager, 
being  confined  to  brief  sketches  made  by  transient  visitors  or  based 
for  the  most  part  upon  the  testimony  of  gold  hunters  and  government 
explorers,  who  took  but  little  note  of  the  unpretentious  relics  of  past 
ages.  As  there  are  few  striking  monuments,  the  attention  of  archae 
ologists  was  not  called  to  the  history  of  primeval  man  in  this  region, 
and  until  recently  the  isthmus  was  supposed  to  have  remained  prac 
tically  unoccupied  by  that  group  of  cultured  nations  whose  works  in 
Peru  and  in  Mexico  excite  the  wonder  of  the  world.  But.  little  by 
little,  it  has  been  discovered  that  at  some  period  of  the  past  the 
province  was  thickly  populated,  and  by  races  possessed  of  no  mean 
culture. 

The  most  important  contributions  to  the  literature  of  this  region,  so 
far  as  they  have  come  to  my  knowledge,  are  the  following:  A  paper 
by  Mr.  Merritt,  published  by  the  American  Ethnological  Society;1  a 
paper  by  Bollaert,  published  by  the  same  society,  and  also  a  volume 
issued  in  London;2  a  valuable  pamphlet,  with  photographic  illustra 
tions,  by  M.  De  Zeltner,  French  consul  to  Panama  in  18GO;3  a  short 
paper  by  Mr.  A.  L.  Pinart,  published  in  the  Bulletin  de  la  Societe  de 
Geographic  (Paris,  1885,  p.  433),  in  which  he  gives  valuable  infor 
mation  in  regard  to  the  peoples,  ancient  and  modern;  and  casual 
notes  by  a  number  of  other  writers,  some  of  which  will  be  referred 
to  in  the  following  pages.  A  pretty  full  list  of  aiithorities  is  given 
by  Mr.  H.  H.  Bancroft  in  his  Native  Races.  Vol.  V,  p.  Hi. 

One  of  the  most  important  additions  to  our  knowledge  of  the  prov 
ince  and  its  archseologic  treasures  is  furnished  in  the  manuscript  notes 
of  Mr.  J.  A.  McNiel.  who  made  the  greater  part  of  the  collection 
now  deposited  in  the  National  Museum.  This  explorer  has  person 
ally  supervised  the  examination  of  many  thousands  of  graves  and 
has  forwarded  the  bulk  of  his  collections  to  the  United  States.  His 
explorations  have  occupied  a  number  of  years,  during  which  time  he 
has  undergone  much  privation  and  displayed  great  enthusiasm  in 
pursuing  the  rather  thorny  pathways  of  scientific  research.  In  the 
preparation  of  this  paper  his  notes  have  been  used  as  freely  as  their 
rather  disconnected  character  warranted,  and  since  Mr.  McNiel's  re 
turn  to  the  United  States,  in  July,  1886.  I  have  been  favored  with  a 

'J.  King  Merritt:  "  Report  on  the  huacals  or  ancient  graveyards  of  Ohiriqui." 
Bulletin  of  the  American  Ethnological  Society.  1860. 

•  Bollaert:  Antiquarian  Researches  in  New  Granada.     London.  1860. 

3  A.  De  Zeltner:  Notes  sur  Ics  sepultures  indiennes  du  departenient  de  Chiriqui. 


UOLUES.J  LITERATURE   AND    PEOPLE.  15 

series  of  interviews  with  him,  and  by  this  means  much  important  in 
formation  has  been  obtained. 

PEOPLE. 

At  the  present  time  this  district  is  inhabited  chiefly  by  Indians  and 

natives  of  mixed  blood,  who  follow  grazing  and  agriculture  to  a  lim 
ited  extent,  but  siibsist  largely  upon  the  natural  products  of  the 
country.  These  peoples  are  generally  thought  to  have  no  knowledge 
or  trustworthy  tradition  of  the  ancient  inhabitants  and  are  said  to 
care  nothing  for  the  curious  cemeteries  among  which  they  dwell,  ex 
cept  as  a  source  of  revenue.  Mr.  A.  L.  Pinart  states,  however,  that 
certain  tribes  on  both  sides  of  the  continental  divide  have  traditions 
pointing  toward  the  ancient  grave  builders  as  their  ancestors.  There 
is  probably  no  valid  reason  for  assigning  the  remains  of  this  region 
to  a  very  high  antiquity.  The  highest  stage  of  culture  here  may 
have  been  either  earlier  or  later  than  the  period  of  highest  civiliza 
tion  in  Mexico  and  South  America  or  contemporaneous  with  it.  There 
is  really  110  reason  for  supposing  that  the  tribes  who  built  these  graves 
were  not  in  possession  of  the  country,  or  parts  of  it.  at  the  time  of  the 
conquest.  As  to  the  affinities  of  the  ancient  middle  isthmian  tribes 
with  the  peoples  north  and  south  of  them  we  can  learn  nothing  posi 
tive  from  the  evidences  of  their  art.  So  far  as  the  art  of  pottery  has 
come  within  my  observation,  it  appears  to  indicate  a  somew^hat  closer 
relationship  with  the  ancient  Costa  Rican  peoples  than  with  those  of 
continental  South  America;  yet,  in  their  burial  customs,  in  the  lack 
of  enduring  houses  and  temples,  and  in  their  use  of  gold,  they  were 
like  the  ancient  peoples  of  middle  and  southern  New  Granada. l 

The  relics  preserved  in  our  museums  would  seem  to  indicate  one 
principal  period  of  occupation  or  culture  only;  but  there  has  been  no 
intelligent  study  of  the  contents  of  the  soil  in  sections  exposed  in 
modern  excavations,  the  exclusive  aim  of  collectors  having  generally 
been  to  secure  either  gold  or  showy  cabinet  specimens.  The  relics 
of  very  primitive  periods,  if  such  are  represented,  have  naturally 
passed  unnoticed.  Mr.  McNiel  mentions  the  occurrence  of  pottery  in 
the  soil  in  which  the  graves  were  dug,  but,  regarding  it  as  identical 
with  that  contained  in  the  graves,  he  neglected  to  preserve  specimens. 

In  one  instance,  while  011  a  visit  to  Los  Remedies,  a  pueblo  near 
the  eastern  frontier  of  Chiriqui.  he  observed  a  cultivated  field  about 
which  a  ditch  some  8  or  9  feet  in  depth  had  been  dug.  In  walk 
ing  through  this  he  found  a  continuous  exposure  of  broken  pottery 
and  stone  implements.  Some  large  urns  had  been  cut  across  or 
broken  to  conform  to  the  slope  of  the  ditch,  and  were  exposed  in 
section. 


'R.  B.  White:  Jour.  Anthrop.  Tnst.  Great  Britain  and  Ireland,  p.  241.     February. 
1884. 


1(J  ANCIENT    AKT    OF    THE    PROVINCE    OK    CHI  UK/I' I. 

Although  not  apparently  representing  a  very  wide  range  of  culture 
or  distinctly  separated  periods  of  culture,  the  various  groups  of  relics 
exhibit  considerable  diversity  in  conception  and  execution,  attribut 
able,  no  doubt,  to  variations  in  race  and  art  inheritance. 

THE    CEMETERIES. 

The  ancient  cemeteries,  or  huacals,  as  they  are  called  throughout 
Spanish  America,  are  scattered  over  the  greater  part  of  the  Pacific 
slope  of  Chiriqui.  It  is  said  by  some  that  they  are  rarely  found 
in  the  immediate  vicinity  of  the  sea.  but  they  occur  in  the  river 
valleys,  on  the  hills,  the  plateaus,  the  mountains,  and  in  the  deepest 
forests.  They  are  very  numerous,  but  generally  of  small  extent. 
The  largest  described  is  said  to  cover  an  area  of  about  twelve  acres. 
They  were  probably  located  in  the  immediate  vicinity  of  villages, 
traces  of  which,  however,  are  not  described  by  explorers;  but  there 
can  be  no  doubt  that  diligent  search  will  bring  to  light  the  sites  of 
dwellings  and  towns.  The  absence  of  traces  of  hoiises  or  monuments 
indicates  either  that  the  architecture  of  this  region  was  then,  as  now, 
of  destructible  material,  or,  which  is  not  likely,  that  so  many  ages 
have  passed  over  them  that  all  traces  of  unburied  art,  wood,  stone, 
or  clay,  have  yielded  to  the  "gnawing  tooth  of  time." 

One  of  the  most  circumstantial  accounts  of  these  burial  places  is 
given  by  Mr.  Merritt,  who  was  also  the  first  to  make  them  known  to 
science. '  Mr.  Merritt  was  director  of  a  gold  mine  in  Veragua,  and  in 
the  summer  of  1859  spent  several  weeks  in  exploring  the  graves  of 
Chiriqui :  he  therefore  speaks  f rom  personal  knowledge.  In  the  autumn 
of  1858  two  native  farmers  of  the  parish  of  Bugaba,  or  Bugava,  dis 
covered  a  golden  image  that  had  been  exposed  by  the  uprooting  of  a 
plant.  They  proceeded  secretly  to  explore  the  graves,  the  existence 
of  which  had  been  known  for  years.  In  the  following  spring  their 
operations  became  known  to  the  people,  and  within  a  month  :nore  than 
a  thousand  persons  were  engaged  in  working  these  extraordinary  gold 
mines.  The  fortunate  discoverers  succeeded  in  collecting  about  one 
hundred  and  thirty  pounds  weight  of  gold  figures,  most  of  which 
were  more  or  less  alloyed  with  copper.  It  is  estimated  that  fifty 
thousand  dollars'  worth  in  all  was  collected  from  this  cemetery,  which 
embraced  an  area  of  twelve  acres. 

Although  there  are  rarely  surface  indications  to  mark  the  position 
of  the  graves,  long  experience  has  rendered  it  comparatively  easy  to 
discover  them.  The  grave  hunter  carries  a  light  iroii  rod.  which  he 
runs  into  the  ground,  and  thus,  if  any  hard  substance  is  present,  dis 
covers  the  existence  of  a  Inmal.  It  is  mentioned  by  one  or  two  writers 
that  the  graves  are  in  many  cases  marked  by  stones,  either  loose  or 
set  in  the  ground  in  rectangular  and  circular  arrangements.  The 

'J.  King  Merritt:    Paper  read  before  the  American  Ethnological  Society,  I860. 


HOLMES. I  CEMETKK1ES   AND   GKAVES.  17 

graves  do  not  often  seem  to  have  had  a  uniform  position  in  relation 
to  one  another  or  to  the  points  of  the  compass.  In  some  cases  they 
are  clustered  about  a  central  tomb,  and  then  assume  a  somewhat 
radiate  arrangement;  again,  according  to  Mr.  McNiel,  they  are  some 
times  placed  end  to  end,  occupying  long  trenches. 

THE   GRAVES. 

Graves  of  a  particular  form  are  said  to  occur  sometimes  in  groups  oc 
cupying  distinct  parts  of  the  cemetery,  but  the  observations  are  not  suf 
ficiently  definite  to  be  of  value.  The  graves  vary  considerably  in  form , 
construction,  and  depth,  and  are  classified  variously  by  explorers. 
In  the  Bugaba  cemetery  Mr.  Merritt  found  two  well  marked  varieties, 
the  oval  and  the  quadrangular,  reference  being  had  to  the  horizontal 
section.  The  oval  grave  pits  were  from  4|  to  (j  feet  deep  and  from  3 
'to  4  feet  in  greatest  diameter.  A  wall  of  rounded  river  stones  2±  to 
;>  feet  high  lined  the  lower  part  of  the  pit,  and  from  the  top  of  this 
the  entire  space  was  closely  packed  with  rounded  stones.  Within 
the  faced  up  part  of  this  cist  the  remains  of  the  dead,  the  golden 
figures,  pottery,  and  implements  had  been  deposited.  This  form  is 
illustrated  in  Fig.  1  by  a  vertical  section  constructed  from  the  de 
scription  given  by  Mr.  Merritt. 


FIG.  1.  Sectiou  of  oval  grave. 

The  quadrangular  graves  were  constructed  in  two  somewhat  dis 
tinct  ways.  One  variety  was  identical  in  most  respects  with  the  oval 
form  illustrated  above.  They  were  sometimes  as  much  as  6  feet  deep 
and  frequently  4  by  7  feet  in  horizontal  dimensions.  In  the  other 
form  a  pit  4  by  G£  feet  in  diameter  was  sunk  to  the  depth  of  about  3 
feet.  Underneath  this  another  pit  some  2  feet  in  depth  was  sunk, 
leaving  an  offset  or  terrace  8  or  10  inches  in  width  all  around.  The 
smaller  pit  was  lined  with  flat  stones  placed  on  edge.  In  this  cist 
the  human  remains  and  the  relics  were  placed  and  covered  over  with 
fiat  stones,  which  rested  upon  the  terrace  and  prevented  the  superin 
cumbent  mass,  which  consisted  of  closely  packed  river  stones,  from 
6  ETH 2 


18 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


crushing  the  contents.     A  section  of  this  tomb  is  given  in  Fig.  2,  also 
drawn  from  the  description  given  by  Mr.  Merritt. 


FIG.  2.  Section  of  a  quadrangular  grave,  showing  the  surface  pack  of  river  stones  and  the  positions 
of  the  slabs  and  objects  of  art. 

Mr.  Merritt  and  others  mention  that  in  some  of  the  graves  pillars 
are  employed  to  support  the  roof  of  the  cist.  These  pillars  are 
mentioned  briefly  by  De  Zeltner,  from  whose  account  the  following 
illustrations  are  drawn.  This  author  does  not  state  that  he  made 
any  personal  investigations,  and  if  his  accounts  were  obtained  from 
the  natives  their  entire  trustworthiness  may  very  properly  be  ques 
tioned.  The  first  two  forms  mentioned  by  him  are  similar  to  those 
already  given.  The  third  is  described  as  having  at  the  corners  square 
pillars  of  stone  to  support  the  covering,  which,  however,  is  not  de 
scribed.  The  fourth  has  four  pillars,  placed  in  the  corners  of  the  pit. 
These  serve  to  support  a  vault  of  flagstones.  The  walls  between  the 
pillars  are  faced  with  pebbles,  as  in  the  cases  previously  described. 


Fio.  3.  Grave  with  pillars,  described  by  De  Zeltner. 

Fig.  3  will  make  this  form  clear  at  a  glance.  The  fifth  variety  de 
scribed  by  De  Zeltner  is  quite  extraordinary  in  construction.  His 
account  is  somewhat  confiising  in  a  number  of  respects,  and  the 
section  given  in  Fig.  4  cannot  claim  more  than  approximate  accuracy 
in  details  and  measurements.  Near  the  surface  a  paving,  perhaps 


HOLM  E.S.I 


GRAVES   AND    HUMAN    REMAINS. 


19 


of  river  stones,  was  found  covering  an  area  of  about  10  by  13  feet. 
This  paving  was  apparently  the  surface  of  a  pack  about  2  feet  thick, 


Flo.  4.  Compound  cist. described  by  I>  Zeltner. 

and  covered  the  mouth  of  the  main  pit,  whicli  was  some  <>  or  7  feet 
deep.  Pillars  of  cobble  stones  about  10  inches  in  diameter  occupied 
the  corners  of  the  pit,  and  probably  served  in  a  measure  to  support 
the  paving.  In  the  bottom  of  this  excavation  a  second  pit  was  dug, 
the  mouth  of  which  was  also  covered  by  a  paving  2$  by  upwards  of 
3  feet  in  horizontal  dimensions.  This  lower  pit  consisted  of  a  shaft 
several  feet  in  depth,  by  which  descent  was  made  into  a  chamber 
of  inverted  pyramidal  shape.  This  chamber  approximated  (J  by  !> 
feet  in  horizontal  dimensions  and  was  some  4  or  5  feet  deep.  At  the 
bottom  of  this  cistern  the  human  remains  and  most  of  the  relics  were 
deposited.  The  shaft  was  tilled  in  with  earth  and  the  pavings  de 
scribed.  The  total  depth,  computed  from  the  figures  given,  is  about 
18  feet,  a  most  remarkable  achievement  for  a  barbarous  people;  yet 
this  is  equaled  by  the  ancient  tribes  of  the  mainland  of  New  Granada, 
where  similar  biirial  customs  seem  to  have  prevailed.  Mr.  White,1 
who  traveled  extensively  in  the  northwestern  part  of  the  state,  says: 
A  dry,  elevated  ridge,  composed  of  easily  excavated  material,  was  selected  as  the 
cemetery.  A  pit  of  only  a  yard  or  so  in  diameter  was  sunk,  sometimes  vertically, 
sometimes  at  an  angle,  or  sometimes  it  varied  from  vertical  to  inclined.  It  was 
sunk  to  depths  varying  from  15  to  60  feet,  and  at  the  bottom  a  chamber  was 
formed  in  the  earth.  Here  the  dead  was  deposited,  with  his  arms,  tools,  cooking 
utensils,  ornaments,  and  chattels  generally,  with  maize  and  fermented  liquor  made 
of  maize.  The  chamber  and  passage  were  then  rammed  tightly  full  of  earth,  and 
sometimes  it  would  appear  that  peculiar  earth,  other  than  that  excavated  on  the 
S]X)t.  was  used.  One  not  unfrequently  detects  a  peculiar  aromatic  smell  in  the  earth, 
and  fragments  of  charcoal  are  always  found  mixed  with  it  in  more  or  less  quantity. 

1  B.  B.  White:  Jour.  Anthrop.  Inst.  Great  Britain  and  Ireland,  p.  346.     February, 
1884. 


20  ANCIENT    ART   OF   THE    PROVINCE   OF   CHIKIQUI. 

M.  DC  Zeltner  describes  other  very  simple  graves  which  are  filled 
in  with  earth,  excepting  a  surface  paving  of  pebbles. 

Mr.  McNiel,  who  has  examined  more  examples  than  any  other  white 
man,  and  over  a  wide  district  with  David  as  a  center,  discredits  the 
statements  of  De  Zeltner  in  respect  to  the  form  illustrated  in  Fig.  4. 
and  states  that  generally  the  graves  do  not  differ  greatly  in  shape 
and  finish  from  the  ordinary  graves  of  to-day.  He  describes  the 
pits  as  being  oval  and  quadrangular  and  as  having  a  depth  ranging 
from  a  few  feet  to  18  feet.  The  paving  or  pack  consists  of  earth  and 
water  worn  stones,  the  latter  pitched  in  without  order  and  forming 
but  a  small  percentage  of  the  filling.  He  has  never  seen  such  stones 
used  in  facing  the  walls  of  the  pit  or  in  the  construction  of  pillars. 
The  flat  stones  which  cover  the  cist  are  often  10  or  15  feet  below 
the  surface  and  are  in  some  cases  very  heavy,  weighing  300  pounds 
or  more.  A  single  stone  is  in  cases  large  enough  to  cover  the  entire 
space,  but  more  freqiiently  two  or  more  flat  stones  are  laid  side  by 
side  across  the  cavity.  These  are  supported  by  river  stones,  a  foot 
or  more  in  length,  set  around  the  margin  of  the  cist.  He  is  of  the 
opinion  that  both  slabs  and  bowlders  were  in  many  cases  carried  long 
distances.  No  one  of  the  pits  examined  was  of  the  extraordinary 
form  described  in  detail  by  De  Zeltner  and  others. 

HUMAN   REMAINS. 

The  almost  total  absence  of  human  remains  has  frequently  been 
remarked,  and  the  theory  is  advanced  that  cremation  must  have  been 
practiced.  We  have  no  evidence,  however,  of  such  a  custom  among 
the  historic  tribes  of  this  region,  and,  besides,  such  elaborate  tombs 
would  hardly  be  constructed  for  the  deposition  of  ashes.  Yet,  con 
sidering  the  deptli  of  the  graves,  their  remarkable  construction,  and 
the  character  of  the  soil  selected  for  burial  purposes,  it  is  certainly 
wonderful  that  such  meager  traces  of  human  remains  are  found. 
I'mart  surmises,  from  the  analogies  of  modern  biirial  customs  upon 
the  north  coast,  that  the  bones  only  were  deposited  in  the  graves,  the 
flesh  having  been  allowed  to  decay  by  a  long  period  of  exposure  in  the 
open  air.  This,  however,  would  probably  not  materially  hasten  the 
decay  of  the  bones. 

Mr.  Merritt  states  that  human  hair  was  obtained  from  graves  at 
Bugaba,  and  that  he  has  himself  secured  the  enamel  of  a  molar  tooth 
from  that  locality.  De  Zeltner  tells  us  that  in  three  varieties  of 
graves  remains  of  skeletons  are  found,  always,  however,  in  a  very 
fragile  condition.  One  skull  was  obtained  of  sufficient  stability  to  be 
cast  in  plaster,  but  De  Zeltner  is  not  certain  that  it  belonged  to  the 
people  who  built  the  tombs. 

Mr.  McNiel  reports  the  occasional  finding  of  bones,  and  a  number 
of  bundles  of  them  are  included  in  his  collection.  He  reports  that 
there  are  no  crania  and  that  nothing  could  be  determined  as  to  the 
position  of  the  bodies  when  first  buried. 


HOLMES]  OBJECTS   OF   ART   IN    STONE.  -J 1 

Pinart  observes  that  in  some  cases  the  bodies  or  remnants  of  bodies 
were  distrilmted  about  the  margin  of  the  pit  bottom,  with  the  various 
utensils  in  the  center,  and  again  that  the  remains  were  laid  away  in 
niches  dug  in  the  sides  of  the  main  pit. 

These  scattering  observations  will  serve  to  give  a  general  idea  of 
the  modes  of  sepulture  practiced  in  this  region,  but  there  must  be  a 
closer  record  of  localities  and  a  careful  correlation  of  the  varying 
phenomena  of  inhumation  before  either  ethnology  or  archaeology  can 
be  greatly  benefited. 

PLACING   OF   RELICS. 

The  pieces  of  pottery,  implements,  and  ornaments  were  probably 
buried  with  the  dead,  pretty  much  as  are  similar  objects  in  other  parts 
of  America.  The  almost  total  disappearance  of  the  human  remains 
makes  a  determination  of  exact  relative  positions  impossible.  The 
universal  testimony,  however,  is  that  all  were  not  placed  with  the 
body,  but  that  some  were  added  as  the  grave  was  tilled  up,  being  placed 
in  the  crevices  of  the  walls  or  pillars  or  thrown  in  upon  the  accumu 
lating  earth  and  pebbles  of  the  surface  pavement.  The  heavy  im 
plements  of  stone  are  rarely  very  far  beneath  the  surface. 

OBJECTS    OF   ART. 

From  the  foregoing  account  it  is  apparent  that  our  knowledge  of 
the  art  of  ancient  Chiriqui  must  for  the  present  be  derived  almost 
entirely  from  the  contents  of  the  tombs.  The  inhabitants  were  skill 
ful  in  the  employment  and  the  manipulation  of  stone,  clay,  gold,  and 
copper;  and  the  perfection  of  their  work  in  these  materials,  taken  in 
connection  with  the  construction  of  their  remarkable  tombs,  indi 
cates  a  culture  of  long  standing  and  a  capacity  of  no  mean  order. 

Of  their  architecture,  agriculture,  or  textile  art  we  can  learn  little 
or  nothing. 

The  relics  represented  in  the  collection  of  the  National  Museum 
consist  chiefly  of  articles  of  stone,  gold,  copper,  and  clay. 

STONE.1 

V 

Works  executed  in  stone,  excluding  the  tombs,  may  be  arranged 
in  the  following  classes:  Pictured  rocks,  sculptured  columns,  images, 
mealing  stones,  stools,  celts,  arrow-points,  spearpoints(?),  polishing 
stones,  and  ornaments. 

Pictured  rock.t. —  Our  accounts  of  these  objects  are  very  meager. 
The  only  one  definitely  described  is  the  "piedra  pintal."  A  few  of 
the  figures  engraved  upon  it  are  given  by  Seemann,  from  whom  I 
quote  the  following  paragraph: 


1 1  am  indebted  to  Mr.  J.  S.  Diller,  of  the  United  States  Geological  Survey,  for 
the  determination  of  the  species  of  stone  in  this  series  of  objects. 


22  ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI, 

At  Oaldera.  a  few  leagues  [north]  from  the  town  of  David,  lies  a  granite  block 
known  to  the  country  people  as  the  piedra  pintal,  or  painted  stone.  It  is  15  feet 
high,  nearly  ~>0  feet  in  circumference,  and  flat  on  the  top.  Every  part,  especially 
the  eastern  side,  is  covered  with  figures.  One  represents  a  radiant  sun;  it  is  fol 
lowed  by  a  series  of  heads,  all,  with  some  variation,  scorpions  and  fantastic  figures. 
The  top  and  the  other  side  have  signs  of  a  circular  and  oval  form,  crossed  by  lines. 
The  sculpture  is  ascribed  to  the  Dorachos  (or  Dorasques),  but  to  what  purpose  the 
stone  was  applied  no  historical  account  or  tradition  reveals.1 

These  inscriptions  are  irregularly  placed  and  much  scattered. 
They  are  thought  to  have  been  originally  nearly  an  inch  deep,  biit  in 
places  are  almost  effaced  by  weathering,  thus  giving  a  suggestion  of 
great  antiquity.  I  have  seen  tracings  of  these  figures  made  recently 
by  Mr.  A.  L.  Piuart  which  show  decided  differences  in  detail,  and  Mr. 
McNiel  gives  still  another  transcript.  I  present  in  Fig.  5  Mr.  McNiel's 
sketch  of  the  southwest  face  of  the  rock,  as  he  has  given  considera 
bly  more  detail  than  any  other  visitor.  Mr.  McNiel's  sketches  show 


Fio.  5.  Southwest  face  of  the  pictured  stone. 

seventeen  figures  on  the  opposite  side  of  the  rock.  Seemann 'gives 
only  twelve,  while  Mr.  Pinart's  tracings  show  upwards  of  forty  upon 
the  same  face.  These  three  copies  would  not  be  recognized  as  refer 
ring  to  the  same  original.  That  of  Mr.  Pinart  seems  to  show  the 
most  careful  study  and  is  probably  accurate.  Good  photographs 
would  be  of  service  in  eliminating  the  inconvenient  personal  equa 
tion  always  present  in  the  delineation  of  such  subjects.  These 
figures  bear  little  resemblance  to  those  painted  upon  the  vases  of 
this  region. 

( )ther  figures  are  said  to  be  engraved  upon  the  bowlders  and  stones 
used  in  constructing  the  burial  cists.  De  Zeltner  states  that  "  one 
often  meets  with  stones  covered  with  rude  allegorical  designs,  repre 
senting  men,  pumas  (tigre  ?),  and  birds.  It  is  particularly  in  such 
huacas  as  have  pillars  and  a  vault  that  these  curious  specimens  of  In 
dian  art  are  found."3 

Columns. — A  number  of  authors  speak  casually  of  sculptured 
stone  columns,  none  of  which  have  been  foiind  in  place.  Seemann 

1  Seemann:  Voy.  Herald,  Vol.  I.  p.  !i!3. 

2  A.  de  Zeltner:  Notes  sur  les  sepultures  indiennes  du  departement  de  Cliiriqui. 


HOLMES.] 


COLUMNS  AND  IMAGES  IN  STONE. 


23 


says  that  they  may  be  seen  in  David,  where  they  are  used  for  build 
ing  purposes,1  but  this  is  not  confirmed  by  others.  The  sculptures  are 
said  to  be  in  relief,  like  those  of  Yucatan  and  Peru.  Cullen  says  that 
columns  are  found  on  the  Island  of  Muerto,  Bay  of  David.2  Others 
are  mentioned  as  having  been  seen  in  Veragua. 

Images. — Objects  that  may  properly  be  classed  as  images  or  idols 
are  of  rather  rare  occurrence.  Half  a  dozen  specimens  are  found  in 
the  McNiel  collections.  The  most  important  of  these  represents  a 
full  length  female  figure  twenty-three  inches  in  height.  It  is  executed 
in  the  round,  with  considerable  attempt  at  detail  (Fig.  6).  I  may 
mention,  as  strong  characteristics,  the  flattened  crown,  encircled  by 
a  narrow  turban-like  band,  the  rather  angular  face  and  prominent 
nose,  and  the  formal  pose  of  the  arms  and  hands.  Besides  the  head 
band,  the  only  other  suggestion  of  costume  is  a  belt  about  the  waist 


FIG.  0.  A  KOildess  of  the  ancient  C'liiriquiaus.    Gray  basalt  —  J. 

The  material  is  a  compact,  slightly  vesicular,  olive  gray,  basaltic 
rock.  I  have  seen  a  few  additional  examples  of  this  figure,  and  from 
the  identity  in  type  and  detail  conclude  that  the  personage  repre 
sented  was  probably  an  important  one  in  the  mythology  of  the  Chiri. 

'Seemann:  Voy.  Herald,  Vol.  I,  p.  313. 
'Culleii's  Darien,  p.  38.' 


24 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIOn. 


quians.  Iii  general  style  there  is  a  rather  close  correspondence  with 
the  sculptures  of  the  Central  American  States.  Some  of  the  plastic 
characters  exhibited  in  this  work  appear  also  in  the  various  objects  of 
clay,  gold,  and  copper  described  further  on. 

There  is  also  a  smaller,  rudely  carved,  half  length,  Imman  figure 
done  in  the  same  style.  Besides  these  figures  there  are  two  1  arge  flattish 
stones,  on  one  of  which  a  rude  image  of  a  monkey  has  been  picked, 
while  the  other  exhibits  the  figure  of  a  reptile  resembling  a  lizard  or 
a  crocodile.  The  work  is  extremely  rude  and  has  the  appearance  of 
being  unfinished.  It  seems  that  all  of  these  objects  were  found 
upon  the  surface  of  the  ground. 

In  Figs.  7  and  8  I  present  two  specimens  of  sculpture  also  collected 
by  Mr.  McNiel.  and  now  in  the  possession  of  Mr.  J.  B.  Stearns,  of 
Short  Hills.  N.  J.  The  example  shown  in  Fig.  7  was  obtained  near  the 
dulf  of  Dolce.  82°  55'  west.  Three  views  are  presented:  profile,  front, 
and  back.  It  is  carved  from  what  appears  to  be  a  compact,  grayish 


FIG.  7.  A  god  of  fche  ancient  Chiriquians.    Gray  volcanic  rock  —  j. 

olive  tufa  or  basalt,  and  represents  a  male  personage,  distinct  in  style 
from  the  female  figure  first  presented.  The  head  is  rounded  above, 
the  arms  are  flattened  against  the  sides,  and  the  feet  are  folded  in  a 
novel  position  beneath  the  body.  The  height  is  9  incites. 

The  other  specimen.  Fig.  8,  from  near  the  same  locality,  is  carved 
from  a  yellowish  gray  basalt  which  sparkles  with  numerous  large 
crystals  of  hornblende.  It  is  similar  in  style  to  the  last,  but  more 
boldly  sculptured,  the  features  being  prominent  and  the  members  of 
the  body  in  higher  relief.  The  legs  are  lost.  Height.  51  inches. 


IIIILMKH.]  MEALING    STONES.  25 

A  remarkable  figure  of  large  size  now  in  the  National  Museum 
was  obtained  from  the  Island  of  Cana  or  Cauo  by  Mr.  McNiel.     It  is 


a  6 

FIG.  8.  Fragmentary  human  figure  in  trray  basaltic  rock  —  |. 

nearly  three  feet  in  height  and  very  heavy.  The  face  has  been  mu 
tilated.  In  general  style  it  corresponds  more  closely  to  the  sculpture 
of  the  Central  American  States  than  to  that  of  Chiriqui. 

Mealing  stones. — The  metate,  or  hand  mill,  which  consists  of  a  con 
cave  tablet  and  a  robbing  stone,  was  an  important  adjunct  to  the 
household  appliances  of  nearly  all  the  more  cultured  American  na 
tions.  It  is  found  not  only  in  those  plain  substantial  forms  most 
suitable  for  use  in  grinding  grain,  seeds,  and  spices  by  manual  means, 
but  in  many  cases  it  has  been  elaborated  into  a  work  of  art  which 
required  long  and  skilled  labor  for  its  production. 

In  the  province  of  Chiriqui  these  mills  must  have  been  numerous; 
but,  since  they  are  still  in  demand  by  the  inhabitants  of  the  region, 
many  of  the  ancient  specimens  have  been  destroyed  by  use.  It  seems 
from  all  accounts  that  they  were  not  very  generally  buried  with  the 
dead,  but  were  left  upon  or  near  the  surface  of  the  ground,  and  were 
hence  accessible  to  the  modern  tribes,  who  found  it  much  easier  to 
transport  them  to  their  homes  than  to  make  new  ones. 

The  metates  of  Chiriqui  present  a  great  diversity  of  form  and  pos 
sibly  represent  distinct  peoples  or  different  grades  of  culture.  They 
are  carved  from  volcanic  rocks  of  a  few  closely  related  varieties,  the 
texture  of  which  is  coarse  and  occasionally  somewhat  cellular,  giving 
an  uneven  or  pitted  surface,  well  suited  to  the  grinding  of  maize. 
Three  classes,  for  convenience  of  description,  may  be  distinguished, 
although  certain  characters  are  common  to  all  and  one  form  grades 


2()  ANCIENT   ART   OF   THE    PROVINCE    OF   CHIRIQUI. 

more  or  less  completely  into  another.  We  have  the  plain  slab  or 
rudely  hewn  mass  of  rock,  in  the  upper  surface  of  which  a  shallow 
depression  has  been  excavated;  wTe  have  the  carefully  hewn  oval  slab 
supported  by  short  legs  of  varied  shape;  and  we  have  a  large  num 
ber  of  pieces  elaborately  sculptured  in  imitation  of  animal  forms. 
The  first  variety  is  common  to  nearly  all  temperate  and  tropical 
America  and  does  not  require  further  attention  here.  The  second 
variety  exhibits  considerable  diversity  in  form.  The  tablet  is  oval, 
concave  above,  and  of  an  even  thickness.  The  periphery  is  often 
squared  and  is  in  many  cases  ornamented  with  carved  figures,  either 
geometric  devices  or  rudely  sculptured  animal  heads.  The  legs  are 
generally  three  in  number,  but  four  is  not  unusual.  They  are  mostly 
conical  or  cylindrical  in  shape  and  are  rather  short. 

The  finest  example  of  the  second  class  has  an  oval  plate  37  inches  in 
length,  29  in  width,  and  2  inches  thick,  which  is  nearly  symmetrical 
and  rather  deeply  concave  above.  The  central  portions  of  the  basin 
are  worn  quite  smooth.  Near  the  ends,  within  the  basin,  two  pairs  of 
small  animal-like  figures  are  carved,  and  ranged  about  the  lower 
margin  of  the  periphery  are  eighty-seven  neatly  sculptured  heads  of 
animals.  There  are  four  short  cylindrical  legs.  This  superb  piece  of 
work  is  shown  in  Fig.  9. 


Km.  9.  Mealing  stone  with  large  tablet  ornamented  with  animal  heads,  from  Fiiialaca  —  J. 

Examples  of  the  third  class  are  all  carved  to  imitate  the  puma  or 
ocelot.  The  whole  creature  is  often  elaborately  worked  out  in  the 
round  from  a  single  massive  block  of  stone.  The  thin  tablet  repre 
senting  the  body  rests  upon  four  legs.  The  head,  which  projects 
from  one  end  of  the  tablet,  is  generally  rather  conventional  in  style, 
but  is  sculptured  with  sufficient  vigor  to  recall  the  original  quite 
vividly.  The  tail  appears  at  the  other  end  and  curves  downward, 
connecting  with  one  of  the  hind  feet,  probably  for  greater  security 
against  mutilation.  The  head,  the  margin  of  the  body,  and  the  ex 
terior  surfaces  of  the  legs  are  elaborately  decorated  with  tasteful  carv 
ing.  The  figures  are  geometric,  and  refer,  no  doubt,  to  the  markings 
of  the  animal's  skin.  Nearly  identical  specimens  are  obtained  from 
Costa  Rica  and  other  parts  of  Central  America. 


HOLMES.] 


STOOLS. 


27 


A  fine  example  of  medium  size  is  given  in  Fig.  10.  The  material 
is  gray,  minutely  cellular,  basaltic  rock.  The  upper  surface  of  the 
plate  is  polished  by  use.  The  entire  length  is  1 7  inches. 


FIQ.  10.  Pinna  shaped  metatc  of  gray  anrli-sitf,  from  Rio  Joea  —  }. 

The  largest  specimen  in  the  McNiel  collection  is  2  feet  long,  18 
inches  wide,  and  12  inches  high.  A  similar  piece  has  been  illustrated 
by  De  Zeltner. 

The  usual  office  of  these  metates  is  considered  to  be  that  of  grind 
ing  corn,  cocoa,  and  the  like.  The  great  elaboration  observed  in 
some  examples  suggests  the  idea  that  perhaps  they  were  devoted 
exclusively  to  the  preparation  of  material  (meal  or  other  substances) 
intended  for  sacred  uses.  A  high  degree  of  elaboration  in  art  prod 
ucts  results  in  many  cases  from  their  connection  with  superstitious 
usages. 

Speculating  upon  the  use  of  these  objects,  De  Zeltner  mentions  a 
mortar  "whose  pestle  was  nothing  but  a  round  stone,  which  still 
shows  traces  of  gold  here  and  there.  It  was  evidently  with  the  help 
of  this  rude  instrument  that  the  Indians  reduced  the  gold  to  powder 
before  fusing  it."1 

The  implement  or  pestle  used  in  connection  with  these  mealing 
tablets  in  crushing  and  grinding  is  often  a  simple  river  worn  pebble, 
as  mentioned  above,  but  is  more  usually  a  cylindrical  mass  of  volcanic 
rock,  worked  into  nearly  symmetric  shape. 

Stools. — The  stool-like  appearance  of  some  of  the  objects  described 
as  metates  suggests  the  presentation  in  this  place  of  a  group  of  ob 
jects  that  must  for  the  present  be  classed  .as  stools  or  seats,  although 
their  true  or  entire  function  is  unknown  to  me.  They  are  distin 
guished  from  the  mealing  stones  by  their  circular  plate,  their  sharply 
denned,  upright,  marginal  rim,  and  the  absence  of  signs  of  use. 

Two  of  these  objects  are  from  the  vicinity  of  David.     The  largest 

1  A.  De  Zeltner  :  Notes  sur  les  sepultures  indiennes,  p.  7. 


28 


ANCIENT    ART   OF   THE   PROVINCE   OF   C'HIRIQUI. 


' 


and  most  interesting  is  illustrated  in  Fig.  11.  It  is  carved  from  a 
piece  of  vesicular  basaltic  tufa  and  is  in  a  perfect  state  of  preservation. 
The  height  is  6  inches  and  the  diameter  of  the  top  10  inches,  that  of 


Fio.  11.  Stool  sha(>eil  object  carved  from  ^ray,  minutely  cellular  basalt  — ^. 

the  base  being  a  little  less.  The  slightly  concave  upper  surface  is 
depressed  about  half  an  inch  below  the  upright  marginal  band.  The 
periphery  is  a  little  more  than  an  inch  in  width  and  is  decorated  with 
a  simple  guilloche-like  ornament  in  relief.  The  disk-like  cap  is  con 
nected  by  open  lattice-like  work  with  the  ring  which  forms  the  base. 


Flo.  13.  Stool  with  columnar  base,  carved  from  pray  basaltic  rock  —  i. 

The  interior  is  neatly  hollowed  out.  The  open  work  of  the  sides  con 
sists  of  two  elaborately  carved  figures  of  monkeys,  alternating 
with  two  sections  of  trellis  work,  very  neatly  executed.  The  other 
specimen  is  somewhat  less  elaborate  in  its  sculptured  ornament 


IKiLMKS.  I 


CELTS. 


2!) 


Outlines  of  two  additional  examples  of  these  objects  are  given  in 
Figs.  12  and  13.     The  tablets  are  round,  thick,  and  slightly  concave 


FIG.  13.  Stool  with  perforatwl  bow,  carved  from  gray  li.-is-ilt  n-  rock— J. 

above  and  are  margined  with  rows  of  sculptured  heads.  The  sup 
porting  column  in  the  first  is  a  plain  shaft  and  the  base  is  narrow  and 
somewhat  concave  underneath.  In  the  second  the  column  is  hollowed 
out  and  perforated. 

As  bearing  upon  the  possible  use  of  these  specimens  it  should  be 
noticed  that  similar  stool-like  objects  are  made  of  clay,  the  softness 
and  fragility  of  which  would  render  them  unsuitable  for  use  as  meal 
ing  plates  or  mortars,  and  it  would  also  appear  that  they  are  rather 
fragile  for  use  as  stools.  I  would  suggest  that  they  may  have  served 
as  supports  for  articles  such  as  vases  or  idols  employed  in  religious 
rites,  or  possibly  as  altars  for  offerings. 

CWf.s. — -The  class  of  implements  usually  denominated  celts  is  repre 
sented  by  several  hundred  specimens,  nearly  all  of  which  are  iii  a 
perfect  state  of  preservation.  They  are  thoroughly  well  made  and 
beautifully  finished,  and  leave  the  impression  iipon  the  mind  that  they 
must  represent  the  very  highest  plane  of  Stone  Age  art. 

Although  varying  widely  in  form  and  finish  there  is  great  homo 
geneity  of  characters,  the  marked  family  resemblance  suggesting  a 
single  people  and  a  single  period  or  stage  of  culture.  They  are  found 
in  the  cists  along  with  other  relics  and  are  very  generally  distributed, 
; ,  limited  number,  rarely  more  than  three,  being  found  in  a  single 
grave.  They  may  be  classified  by  shape  into  a  number  of  groups,  each 
of  which,  however,  will  be  found  to  grade  more  or  less  completely  into 
the  others.  They  display  all  degrees  of  finish  from  the  freshly  flaked 
to  the  evenly  picked  and  wholly  polished  surface.  The  edges  or  points 
of  nearly  all  show  the  contoiir  and  polish  that  come  from  long  though 
careful  use.  All  are  made  of  compact,  dark,  volcanic  tufa  that  re 
sembles  very  closely  a  fine  grained  slate.  The  following  illustrations 
include  all  the  more  important  types  of  form.  There  are  but  few 
specimens  of  very  large  size.  That  shown  in  Fig.  1-t  is  8£  inches 
long,  4  inches  wide,  and  seven-eighths  of  an  inch  thick.  The  blade  is 
broad  at  the  edge,  rounded  in  outline,  and  well  polished.  The  upper 


30 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIyUI. 


end  terminates  in  a  rather  sharp  point  that  shows  the  rough  flaked 
surface  of  the  original  blocking  out.     The  middle  portion  exhibits  an 


partially  polished  celt  of  mottled  volcanic  tufa  —  .1. 


evenly  picked  surface.  The  rock  is  a  dark  slaty  looking  tufa,  the  sur 
face  of  which  displays  ring  or  rosette-like  markings,  reminding  one 
of  the  polished  surface  of  a  section  of  fossil  coral.  These  markings 
probably  come  from  the  decomposition  of  the  mineral  constituents  of 
the  rock. 

The  implement  given  in  Fig.  1  5  may  be  taken  as  a  type  of  a  large 
class  of  beautifully  finished  celts.  It  also  is  made  of  the  dark  tufa, 
very  fine  grained  and  compact,  resembling  slate.  The  beveled  sur 
faces  of  the  blade  are  well  polished,  the  remainder  of  the  surface  being 
evenly  picked.  The  hexagonal  section  is  characteristic  of  the  class, 
but  it  is  not  so  decided  in  this  as  in  some  other  pieces  in  which  the 
whole  surface  is  freshly  ground. 

The  contraction  of  the  lateral  outline  and  the  sudden  expansion  on 
reaching  the  cutting  edge  noticed  in  this  specimen  are  more  clearly 
marked  in  other  examples.  The  small  celt  shown  in  Fig.  Ui  is  narrow 
above  and  qiiite  wide  toward  the  edge.  A  wide,  thick  specimen  is 


HOI.MES.l 


CELTS. 


31 


given  in  Fig.  17.  A  specimen  quite  exceptional  in  Chiriqui  is  shown 
in  Fig.  18.  Mr.  McNiel  states  that  in  many  years'  exploration  this 
is  the  only  piece  seen  that  exhibits  the  constriction  of  outline  charac 
teristic  of  grooved  axes. 


FIG.  15.  Celt  of  hexagonal  section  made  of  dark 
(•(impact  tufa  —  i. 


Fin.  IT.  Celt  with  heavy  shaft  made  of 
dark  speckled  tufa  -  -  J. 


FIG.  IB.  Small  wide  Waded  celt  made 
of  dark  tufa-   j. 


FIG.  18.  Celt  or  ax  with  constriction 
near  the  top. 


Two  superb  implements  are  illustrated  in  Figs.  10  and  20.  the  one 
in  the  rough  excepting  at  the  cutting  edge,  where  it  is  ground  into  the 
desired  shape,  and  the  other  neatly  polished  over  nearly  the  entire 


,'52 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIO.UI. 


surface.     The  surfaces  are  somewhat  whitened  from  decomposition, 
but  within  the  ruck  is  nearly  black,  and  the  eye  could  not  distinguish 


Fir;.  li>.  Flaked  and  partially  pol 
ished  celt  of  dark  tufa      1. 


FIG.  an.  Well  polished  celt  of  dark 
tufa  — J. 


it  from  a  dark  slate.     The  material  is  shown  by  microscopic  test  to 
be  a  volcanic  tufa.     These  examples  were  evidently  intended  for  more 


FIG.  21.  Narrow  pointed  celt  of 
dark  tufa  — J. 


FIG.  22.  Narrow  pointed  celt 
of  dark  tufa  — J. 


delicate  work  than  the  preceding.     The  shapes  of  the  specimens 
illustrated  in  Figs.  21  and  22  indicate  a  still  different  use.     The  upper 


HOI.MF.S.  ] 


CELTS   AND    SPEARHEADS. 


3.'} 


end  of  the  implement  is  large  and  rough,  as  if  intended  to  facilitate 
holding  or  hafting,  while  the  shaft  diminishes  in  size  below,  termi 
nating  in  a  narrow,  symmetrical,  highly  polished  edge,  a  shape  well 


Fin.  as.  Cylindrical  celt  with  narrow  point,  nf  dark  tufa  —  j. 

calculated  to  unite  delicacy  and  strength.     The  highest  mechanical 
skill  could  hardly  give  to  stone  shapes  more  perfectly  adapted  to  the 


FIG.  24.  IjCaf  shaped  objects  suggesting  spearpoints.  of  dark  tufa — }. 

manipulation  of  stone,  metal,  or  other  hard  or  compact  substances. 
The  material  is  a  very  dark,  compact,  fine  grained  tufa. 
An  additional  example  is  given  in  Fig.  23.     The  shaft  is  cylindri- 
6  ETH 3 


ANCIENT    ART    OF   THE    PROVINCE    OF    C'HIRIQUI. 


cal  and  terminates  in  a  conical  point  at  one  end  and  in  a  very  narrow, 
abrupt,  cutting  edge  at  the  other.  The  whole  surface  is  polished. 
The  material  is  the  same  dark  tiifa. 

The  class  of  objects  illustrated  in  this  and  the  two  preceding  cuts 
comprises  but  a  small  percentage  of  the  chisel-like  implements. 

Spearheads  ('.'). — Another  class  of  objects  made  of  the  same  fine 
grained,  slaty  looking  tufa  is  illustrated  in  Fig.  24.  They  resemble 
spearpoiiits,  yet  may  have  been  devoted  to  a  wholly  different  use. 
They  are  long,  leaf -like  flakes,  triangular  in  section,  slightly  worked 
down  by  flaking,  sharpened  by  grinding  at  the  point,  and  slightly 
notched  at  the  top,  perhaps  for  hafting. 

Arrowpoints. — The  unique  character  of  the  arrowpoints  of  Chi- 
riqui  is  already  known  to  archaeologists.  The  most  striking  feature 
is  the  triangular  section  presented  in  nearly  all  cases  and  shown  in 
the  figures  (Fig.  25).  The  workmanship  is  extremely  rude.  The 


FIG.  35.  Arrowpoints  of  jasper— \. 

material  is  generally  a  flinty  jasper  of  reddish  and  yellowish  hues. 
The  number  found  is  comparatively  small.  The  specimens  given 
are  of  average  size. 

Ornaments. — It  would  seem  from  a  study  of  our  collections  that 
ornaments  of  stone  were  seldom  used  by  the  inhabitants  of  Chiriqui. 
There  are  a  few  medium  sized  beads  of  agate  and  one  pendant  of 
dark  greenish  stone  rudely  shaped  to  resemble  a  human  head.  Orna 
ments  of  gold  and  copper  were  evidently  much  preferred. 


HOLHEM.J  USE   OF   GOLD   AND   COPPER.  35 

METAL. 
OOLD  AND  COPPER. 

The  Chiriquians,  like  many  of  their  neighbors  in  the  tropical  por 
tions  of  the  American  continent,  were  skilled  in  the  working  of  met 
als.  Gold,  silver,  copper,  and  tin  —  the  last  in  alloys  with  copper  form 
ing  bronze  —  are  found  in  the  graves.  Gold  is  the  most  important, 
and  is  associated  with  all  the  others  iu  alloys  or  as  a  surface  coating. 
The  inhabitants  of  the  isthmus  at  the  time  of  the  discovery  were 
rich  in  objects,  chiefly  ornaments,  of  this  metal,  and  expeditions  sent 
out  under  Balboa,  Pizarro,  and  others  plundered  the  natives  without 
mercy.  When  the  Indian  village  of  Darien  was  captured  by  Balboa 
( 1510)  he  obtained  "  plates  of  gold,  such  as  they  hang  on  their  breasts 
and  other  parts,  and  other  things,  all  of  them  amounting  to  ten  thou 
sand  pesos  of  fine  gold. " '  From  an  expedition  to  Nicaragua  the  same 
adventurers  brought  back  to  Panama  the  value  of  "  112, 524  pieces  of 
eight  in  low  gold,  and  145  in  pearls."2  Early  Spanish-American  his 
tory  abounds  in  stories  of  this  kind.  Among  others  we  read  that 
Columbus  found  the  natives  along  the  Atlantic  coast  of  Chiriqui  and 
Veragua  so  rich  in  objects  of  gold  that  lie  named  the  district  Ciift- 
lillo  del  Oro.  It  is  said  that  the  illusory  stories  of  an  El  Dorado 
somewhere  within  the  continent  of  South  America  arose  from  the 
lavish  use  of  gold  ornaments  by  the  natives  whom  the  Spaniards  en 
countered,  and  that  Costa  Rica  gets  its  name  from  the  same  circum 
stance.  It  is  also  recorded  that  the  natives  of  various  parts  of  Cen 
tral  and  South  America  at  the  date  of  the  conquest  were  in  the  habit 
of  opening  ancient  graves  for  the  purpose  of  securing  mortuary 
trinkets.  The  whites  have  followed  their  example  with  the  greatest 
eagerness.  As  far  back  as  1 042  the  Spaniards  passed  a  law  claiming 
all  the  gold  found  in  the  burial  places  of  Spanish  America,3  the  whole 
matter  being  treated  merely  as  a  means  of  revenue. 

The  objects  of  gold  for  which  the  tombs  of  Chiriqui  are  justly 
famous  are  generally  believed  to  have  been  simple  personal  orna 
ments,  the  jewelry  of  the  primeval  inhabitants,  although  it  is  highly 
probable  that  many  of  the  figures,  at  least  as  originally  employed,  had 
an  emblematic  meaning.  They  were  doubtless  at  all  times  regarded 
as  possessed  of  potent  charms,  and  thus  capable  of  protecting  and  for 
warding  the  interests  of  their  owners.  They  have  been  found  in  great 
numbers  within  the  last  twenty -five  years,  but  for  the  most  part,  even 
at  this  late  date,  have  been  esteemed  for  their  money  value  only. 
Very  many  specimens  fonnd  their  way  to  this  country,  where  they 
were  either  sold  for  curiosities  or,  after  waiting  long  for  a  ptirchaser. 
even  in  the  very  shadow  of  our  museums,  were  consigned  to  the  melt- 

1  Herrera:  Hist.  America,  Vol.  VI,  p.  369. 
'Herrera:  Hist.  America.  Vol.  III.  p.  2H7. 

'Mr.  Hawes's  letter  answering  questions  about  Chiriqui.  read  by  Mr.  Davis  liefore 
the  American  Ethnological  Society.  April  17.  IHfio. 


36  ANCIENT   ART   OF   THE   PROVINCE    OF   CHIRIQUI. 

ing  pot.  Many  stories  bearing  upon  this  point  have  been  told  me.  A 
Washington  jeweler  is  represented  as  having  exhibited  in  h?.s  win 
dow  on  Pennsylvania  avenue  about  the  year  I860  a  remarkable  series 
of  these  trinkets,  most  of  which  were  afterwards  sent  to  New  York 
to  be  melted.  About  the  same  period  a  gentleman  on  entering  a  shop 
in  San  Francisco  was  accosted  by  a  stranger  who  had  his  pockets  well 
filled  with  these  curious  relics  and  wished  to  dispose  of  them  for  cash. 
A  rmmber  of  my  acquaintances  have  neat  but  grotesque  examples  of 
these  little  images  of  gold  attached  to  their  watch  guards,  thus  ap 
proving  the  taste  of  our  prehistoric  countrymen  and  at  the  same 
time  demonstrating  the  identity  of  ideas  of  personal  embellishment  in 
all  times  and  with  all  peoples. 

The  ornaments  are  found  only  in  a  small  percentage  of  the  graves, 
those  probably  of  persons  sufficiently  opulent  to  possess  them  in  life; 
a  majority  of  the  graves  contain  none  whatever.  They  are  often 
found  at  the  bottom  of  the  pits,  and  probably  in  nearly  the  position 
occupied  by  them  while  still  attached  to  the  persons  of  the  dead.  It 
is  said  that  occasionally  they  are  foiind  in  niches  at  the  sides  of  the 
graves,  as  if  placed  during  the  filling  of  the  pit. 

Strangely  enough,  the  gold  is  very  generally  alloyed  with  copper, 
the  composite  metal  ranging  from  pure  gold  to  pure  copper.  A  small 
percentage  of  silver  is  also  present  in  some  of  the  specimens  exam 
ined,  but  this  is  probably  a  natural  alloy.  In  a  few  cases  very  simple 
figures  appear  to  have  been  shaped  from  nuggets  or  masses  of  the 
native  metals;  this,  however,  is  not  susceptible  of  proof.  The  work 
is  very  skillfully  done,  so  that  we  find  it  difficult  to  ascertain  the 
precise  methods  of  manipulation.  The  general  effect  in  the  more 
pretentious  pieces  resembles  that  of  our  filigree  work,  in  which  the 
parts  are  produced  by  hammering  and  united  by  soldering;  yet  there 
are  many  evidences  of  casting,  and  these  must  be  considered  with 
care.  As  a  rule  simple  figures  and  some  portions  of  composite  fig 
ures  present  very  decided  indications  of  having  been  cast  in  molds, 
yet  no  traces  of  these  molds  have  come  to  light,  and  there  are  none 
of  those  characteristic  markings  which  result  from  the  use  of  com 
posite  or  "piece"  molds.  Wire  was  extensively  \ised  in  the  forma 
tion  of  details  of  anatomy  and  embellishment,  and  its  presence  does 
not  at  first  seem  compatible  with  ordinary  casting.  This  wire,  or 
pseudo-wire  it  may  be,  is  generally  about  one-twenty-fifth  of  an  inch 
in  diameter. 

The  manner  in  which  the  numerous  parts  or  sections  of  complex 
figures  are  joined  together  is  both  interesting  and  perplexing.  Evi 
dences  of  the  use  of  solder  have  been  looked  for  in  vain,  and  if  such 
a  medium  was  ever  used  it  was  identical  in  kind  with  the  body  of 
the  object  or  so  small  in  quantity  as  to  escape  detection.  At  the 
junction  of  the  parts  there  are  often  decided  indications  of  hammer 
ing,  or  at  least  of  the  strong  presstire  of  an  implement;  but  in  pur- 


HOLMES.]  USE   OF   GOLD    AND   COPPER.  37 

suing  tho  matter  further  we  find  a  singular  perfection  in  the  joining, 
which  amounts  to  a  coalescence  of  the  metals  of  the  two  parts  con 
cerned.  There  is  no  weakness  or  tendency  to  part  along  the  contact 
surfaces,  neither  is  there  anything  like  the  parting  of  parallel  wires 
in  coils  or  where  a  series  of  wires  is  joined  side  by  side  and  carried 
through  various  convolutions.  In  a  number  of  cases  I  made  sections 
of  coils  and  parts  composed  of  a  number  of  wires,  in  the  hope  of 
discovering  evidences  of  the  individuality  of  the  strands,  but  the 
metal  in  the  section  is  always  homogeneous,  breaking  with  a  rough, 
granular  fracture,  and  not  more  readily  along  apparent  lines  of  junc 
tion  than  across  them;  and  further,  in  studying  in  detail  the  surface 
of  parts  unpolished  or  protected  from  wear  by  handling,  we  find 
everywhere  the  granular  and  pitted  unevenness  characteristic  of  cast 
surfaces.  This  is  true  of  the  wire  forms  as  well  as  of  the  massive 
parts,  and,  in  addition  to  this,  such  defects  occur  in  the  wires  as 
would  hardly  be  possible  if  they  were  of  wrought  gold. 

All  points  considered,  I  am  inclined  to  believe  that  the  objects  were 
cast,  and  cast  in  their  entirety.  It  is  plain,  however,  that  the  original 
model  was  made  up  of  separately  constructed  parts  of  wire  or  wire- 
like  strands  and  of  eccentric  and  often  rather  massive  parts,  and  that 
all  were  set  together  by  the  assistance  of  pressure,  the  indications 
being  that  the  material  used  was  sufficiently  plastic  to  be  worked 
after  the  manner  of  clay,  dough,  or  wax.  In  one  case,  for  example, 
the  body  of  a  serpent,  consisting  of  two  wires  neatly  twisted  together, 
is  held  in  the  hand  of  a  grotesque  figure.  The  hand  consists  of  four 
fingers  made  by  doubling  together  two  short  pieces  of  wire.  The  coil 
has  been  laid  across  the  hand  and  pressed  down  into  it  until  half 
buried,  and  the  ends  of  the  fingers  are  drawn  up  around  it  without 
any  indication  of  hammer  strokes.  Indeed,  the  effect  is  just  such  as 
would  have  been  produced  if  the  artist  had  worked  in  wax.  Again, 
in  the  modeling  of  the  eyes  we  have  a  good  illustration.  The  eye  is 
a  minute  ball  cleft  across  the  entire  diameter  by  a  sharp  implement, 
thus  giving  the  effect  of  the  parted  lids.  Now,  if  the  material  had 
been  gold  or  copper,  as  in  the  specimens,  the  ball  would  have  been 
separated  into  two  parts  or  hemispheres,  which  would  not  exhibit  any 
great  distortion;  but  as  we  see  them  here  the  parts  are  flattened  and 
much  drawn  out  by  the  pressure  of  the  cutting  edge,  just  as  if  the 
material  had  been  decidedly  plastic. 

It  seems  to  me  that  the  processes  of  manufacture  must  have  been 
analogous  to  those  employed  by  the  more  primitive  metal  workers  of 
our  own  day.  In  Oriental  countries  delicate  objects  of  bronze  and 
other  metals  are  made  as  follows:  A  model  is  constructed  in  some 
such  material  as  wax  or  resin  and  over  it  are  placed  coatings  of  clay 
or  other  substance  capable  of  standing  great  heat.  These  coatings, 
when  sufficiently  thickened  and  properly  dried,  form  the  mold,  from 
which  the  original  model  is  extracted  by  means  of  heat.  The  fused 


38  ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

metal  is  afterwards  poured  in.  As  a  matter  of  course,  both  the  mold 
and  the  model  are  destroyed  in  each  case,  and  exact  duplications  are 
not  to  be  expected.  Mr.  George  F.  Kunz,  of  New  York,  with  whom 
I  have  discussed  this  matter,  states  that  he  has  seen  live  objects,  such 
as  insects,  used  as  models  in  this  way.  Being  coated  with  washes  of 
clay  or  like  substance  until  well  protected  and  then  heavily  covered, 
they  were  placed  in  the  furnace.  The  animal  matter  was  thus  reduced 
to  ashes  and  extracted  through  small  openings  made  for  the  purpose. 

As  bearing  upon  this  subject  it  should  be  mentioned  that  occa 
sionally  small  figures  in  a  fine  reddish  resin  are  obtained  from  the 
graves  of  Chiriqui.  They  are  identical  in  style  of  modeling  with 
the  objects  of  gold  and  copper  obtained  from  the  same  source. 

In  discussing  possible  processes,  Mr.  William  Hallock.  of  the  divis 
ion  of  chemistry  and  physics  of  the  United  States  Geological  Sur 
vey,  suggested  that  if  the  various  sections  of  a  metal  ornament  were 
embedded  in  the  surface  of  a  mass  of  fire  clay  in  their  proper  rela 
tions  and  contacts  they  could  then  be  completely  inclosed  in  the  mass 
and  subjected  to  heat  until  the  metal  melted  and  ran  together.  After 
cooling,  the  complete  figure  could  be  removed  by  breaking  up  the 
clay  matrix.  I  imagine  that  in  such  work  much  difficulty  would  be 
experienced  in  securing  proper  contact  and  adjustment  of  parts  of 
complex  figures.  It  will  likewise  be  observed  that  evidences  of 
plasticity  in  the  modeling  material  would  not  exist.  I  must  not  pass 
a  suggestion  of  Nadaillac1  which  offers  a  possible  solution  of  the 
problem  of  manipulation.  Referring  to  a  statement  of  the  early 
Spanish  explorers  that  smelting  was  unknown  to  the  inhabitants  of 
Peru,  he  states  that  it  would  be  possible  for  a  people  in  a  low  state 
of  culture  to  discover  that  an  amalgam  of  gold  with  mercury  is 
qtiite  plastic,  and  that  after  a  figure  is  modeled  in  this  composite 
metal  the  mercury  may  be  dissipated  by  heat,  leaving  the  form  in 
gold,  which  then  needs  only  to  be  polished.  There  is,  however,  no 
evidence  whatever  that  these  people  had  any  knowledge  of  mercury. 

There  is  no  indication  of  carving  or  engraving  in  the  Chiriquian 
work.  In  finishing,  some  of  the  extremities  seem  to  have  been  shaped 
by  hammering.  This  was  a  mere  flattening  out  of  the  feet  or  parts 
of  the  accessories,  which  required  no  particular  skill  and  could  have 
been  accomplished  with  comparatively  riide  stone  hammers.  It  is  a 
remarkable  fact  that  many,  if  not  most,  of  the  objects  appear  to  be 
either  plated  or  washed  with  pure  gold,  the  body  or  foundation  being 
of  base  gold  or  of  nearly  pure  copper.  This  fact,  coupled  with  that 
of  the  association  of  objects  of  bronze  with  the  relics,  leads  us  to  in 
quire  carefully  into  the  possibilities  of  European  influence  or  agency. 
I  observe  that  recent  writers  do  not  seem  to  have  questioned  the  gen 
uineness  of  the  objects  described  by  them,  biit  that  at  the  same  time  no 
mention  is  made  of  the  plating  or  washing.  This  latter  circumstance 

'  Nadaillac:  Prehistoric  America,  p.  450. 


HOLMES. I  USE   OF   GOLD    AND    COPPER.  39 

leads  to  the  inference  that  pieces  now  in  my  possession  exhibiting 
this  phenomenon  may  have  been  tampered  with  by  the  whites.  In 
this  connection  attention  should  be  called  to  the  fact  that  history  is 
not  silent  011  the  matter  of  plating.  The  Indians  of  New  Granada 
are  said  to  have  been  not  only  marvelously  skillful  in  the  manipula 
tion  of  metals,  but,  according  to  Bollaert,  Acosta  declares  that  these 
peoples  had  much  gilt  copper,  "and  the  copper  was  gilt  by  the  use 
of  the  juice  of  a  plant  rubbed  over  it,  then  put  into  the  fire,  when  it 
took  the  gold  color."  '  Just  what  this  means  we  cannot  readily  de 
termine,  but  we  safely  conclude  that,  whatever  the  process  hinted 
at  in  these  words,  a  thin  surface  deposit  of  pure  gold,  or  the  close 
semblance  of  it,  was  actually  obtained.  It  is  not  impossible  that  an 
acid  may  have  been  applied  which  tended  to  destroy  the  copper  of 
the  alloy,  leaving  a  deposit  of  gold  upon  the  surface,  which  could 
afterwards  be  burnished  down. 

It  has  been  .suggested  to  me  that  possibly  the  film  of  gold  may  in 
cases  be  the  result  of  simple  decay  on  the  part  of  the  copper  of  the 
alloy,  the  gold  remaining  as  a  shell  upon  the  surface  of  the  still  un- 
decayed  portion  of  the  composite  metal;  but  the  surface  in  such  a 
case  would  not  be  burnished,  whereas  the  show  surfaces  of  the  speci- 
imens  recovered  are  in  all  cases  neatly  polished. 

If  we  should  conclude  that  the  ancient  Americans  were  probably 
able  to  secure  in  some  such  manner  a  thin  film  of  gold,  it  still  remains 
to  inquire  whether  there  may  not  have  been  some  purely  mechanical 
means  of  plating.  In  some  of  the  Chiriquiaii  specimens  a  foundation 
of  very  base  metal  appears  to  have  been  plated  with  heavy  sheet  gold, 
which  as  the  copper  decays  comes  off  in  flakes.  Occasional  pieces 
have  a  blistered  look  as  a  consequence.  Were  these  people  able  with 
their  rude  appliances  to  beat  gold  into  very  thin  leaves?  and  Had  they 
discovered  processes  by  which  these  could  be  applied  to  the  surfaces 
of  objects  of  metal?  are  questions  that  should  probably  be  answered 
in  the  affirmative. 

The  flakes  in  some  cases  indicate  a  very  great  degree  of  thinness. 
Specimens  of  sheet  gold  ornaments  found  in  the  tombs  are  thicker, 
but  are  sufficiently  thin  to  indicate  that,  if  actually  made  by  these 
people,  almost  any  degree  of  thinness  could  be  attained  by  them.  It 
would  probably  not  be  difficult  to  apply  thin  sheet  gold  to  the  com 
paratively  smooth  surfaces  of  these  ornaments  and  to  fix  it  by  bur 
nishing. 

Mr.  Kunz  suggests  still  another  method  by  means  of  which  plating 
coiild  have  been  accomplished.  If  a  figure  in  wax  were  coated  with 
sheet  gold  and  then  incased  in  a  clay  matrix,  the  wax  could  be  melted 
out,  leaving  the  shell  of  gold  within.  The  cavity  could  then  be  filled 
with  alloy,  the  clay  could  be  removed,  and  the  gold,  which  would  ad 
here  to  the  metal,  could  then  be  properly  burnished  down. 


1  Bollaert:  Ethnological  and  Other  Researches  in  New  Granada,  &c. 


40  ANCIENT    ART   OF   THE    PROVINCE    OF   CHIRIQUI. 

It  will  be  seen  from  this  hasty  review  that,  although  we  may  con 
clude  that  casting  and  plating  were  certainly  practiced  by  these  peo 
ples,  we  must  remain  in  ignorance  of  the  precise  methods  employed. 

Referring  to  the  question  of  the  authenticity  of  the  specimens  them 
selves,  I  may  note  that  observations  bearing  upon  the  actual  discov 
ery  of  particular  specimens  in  the  tombs  are  unfortunately  lacking. 
Mr.  McNiel  acknowledges  that  with  all  his  experience  in  the  work  of 
excavation  110  single  piece  has  been  taken  from  the  ground  with  his 
own  hands,  and  he  cannot  say  that  he  ever  witnessed  the  exhumation 
by  others,  although  he  has  been  present  when  they  were  brought  up 
from  the  pits.  Generally  the  workmen  secrete  them  and  afterwards 
offer  them  for  sale.  He  has,  however,  no  shadow  of  a  doubt  that  all 
the  pieces  procured  by  him  came  from  the  graves  as  reported  by  his 
collectors.  The  question  of  the  authenticity  of  the  gilding  will  not  be 
satisfactorily  or  finally  settled  until  some  responsible  collector  shall 
have  taken  the  gilded  objects  with  his  own  hands  from  their  undis- 
turbed  places  in  tombs  known  to  be  of  pre-Columbian  construction. 

There  are  many  proofs,  however,  of  the  authenticity  of  the  objects 
themselves.  It  is  asserted  by  a  number  of  early  writers  that  the 
American  natives  were,  on  the  arrival  of  the  Spaniards,  highly  ac 
complished  in  metallurgy;  that  they  worked  with  blowpipes  and 
cast  in  molds;  that  the  objects  produced  exhibited  a  high  order  of 
skill ;  and  that  the  native  talent  was  directed  with  unusual  force  and 
uniformity  toward  the  imitation  of  life  forms.  It  is  said  that  the 
conquerors  were  "struck  with  wonder"  at  their  skill  in  this  last 
respect.  And  a  strong  argument  in  favor  of  the  genuineness  of 
these  objects  is  found  in  the  fact  that  it  is  not  at  all  probable  that 
rich  alloys  of  gold  would  have  been  used  by  Europeans  for  the  base 
or  foundation  when  copper  or  bronze,  or  even  lead,  would  have  served 
as  well.  We  also  observe  that  there  is  absolutely  no  trace  of  pecu 
liarly  European  material  or  methods  of  manipulation,  a  condition 
hardly  possible  if  the  extensive  reproductions  were  made  by  the 
whites.  Neither  are  there  traces  of  European  ideas  embodied  in  the 
shapes  or  in  the  decoration  of  the  objects  —  a  circumstance  that  argues 
strongly  in  favor  of  native  origin.  An  equally  convincing  argument 
is  found  in  the  fact  that  all  the  alloys  liable  to  corrosion  exhibit 
marked  evidences  of  decay,  as  if  for  a  long  period  subject  to  the  de 
structive  agents  of  the  soil.  In  many  cases  the  copper  alloy  base 
crumbles  into  black  powder,  leaving  only  the  flakes  of  the  plating. 
Lastly  and  most  important,  the  strange  creatures  represented  are  in 
many  cases  identical  with  those  embodied  in  clay  and  in  stone,  and 
for  these  latter  works  no  one  will  for  a  moment  claim  a  foreign 
derivation. 

Considering  all  these  arguments,  I  arrive  at  the  conclusion  that 
the  ornaments  are,  in  the  main,  genuine  antiquities,  and  that,  if  any 
deception  at  aU  has  been  practiced,  it  is  to  be  laid  at  the  door  of  modern 


HUMAN    FIGURE    IN    COPPER-GOLD    ALLOY. 


41 


goldsmiths  and  speculators,  who,  according  to  Mr.  McNiel,  are  known 
in  a  few  cases  to  have  "doctored"  alloyed  objects  with  washes  of 
gold  with  the  view  of  selling  them  as  pure  gold. 

I  present  the  following  specimens  with  a  reasonable  degree  of  con 
fidence  that  all,  or  nearly  all,  are  of  purely  American  fabrication,  and 
I  sincerely  hope  that  at  no  distant  day  competent  archaeologists  may 
have  the  opportunity  of  making  personal  observations  of  similar  relics 
in  place. 

The  objects  consist  to  a  great  extent  of  representations  of  life  forms, 
in  many  cases  more  fanciful  than  real  and  often  extremely  grotesque. 
They  include  the  human  figure  and  a  great  variety  of  birds  and 
beasts  indigenous  to  the  country,  in  styles  resembling  work  in  clay 
and  stone  of  the  same  region.  My  illustrations  show  the  actual 
sizes  of  the  objects. 

The  human  figure.  —  Statuettes  of  men  and  women  and  of  a  variety 
of  anthropomorphic  figures  of  all  degrees  of  elaboration  abound. 
Fig.  20  illustrates  a  plain,  rude  specimen  belonging  to  the  collection  of 


FIG.  2(>.  Human  figure  with  ridded  crown,  formed  of  copper-gold  alloy. 

J.  B.  Stearns.  It  was  obtained  by  Mr.  McNiel  from  near  the  south 
base  of  Mount  Chiriqui.  The  body  is  solid  and  the  surface  is  rough 
and  pitted,  as  if  from  decay.  In  many  respects  it  resembles  the  stone 
sculptures  of  the  isthmus.  The  metal  is  nearly  pure  copper.  A  piece 
exhibiting  more  elaborate  workmanship,  illustrated  by  Bollaert,1  is 
shown  in  Fig.  27.  Another  remarkable  specimen  is  illustrated  by  De 
Zeltner,  but  the  photograph  published  with  his  brochure  is  too  indis 
tinct  to  permit  of  satisfactory  reproduction.  He  describes  it  in  the 
following  language: 

The  most  curious  piece  in  my  collection  is  a  gold  figure  of  a  man.  7  centimeters 
in  height.  The  head  is  ornamented  with  a  diadem  terminated  on  each  side  with  the 
head  of  a  frog.  The  body  is  nude,  except  a  girdle,  also  in  the  form  of  a  plait,  sup 
porting  a  flat  piece  intended  to  cover  the  privates,  and  two  round  ornaments  on 

1  Bollaert:  Antiquarian  Researches  in  New  Granada,  plate  facing  p.  31. 


42 


ANCIENT    ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


each  side.  The  arms  are  extended  from  the  Ixxly  ;  the  well  drawn  hands  hold,  one 
of  them  a  short,  round  club,  the  other  a  musical  instrument,  of  which  one  end  is  in 
the  mouth  and  the  other  forms  an  enlargement  like  that  of  a  flute,  made  of  human 


FIG.  27.  Grotesque  human  figure  in  gold,  from  Bollaert. 

bone.     It  is  not  probable  that  this  is  a  pipe.     Both  thighs  have  an  enlargement, 
and  the  toes  are  not  marked  in  this  little  figurine. ' 


FIG.  a».  Rudely  shaped  and  finished  human  figure  in  gold. 

In  Fig.  28  we  have  a  rather  rudely  made  and  finished  piece  collected 
'A.  De  Zeltner  :  Notes  sur  les  sepultures  indiennes  du  departement  de  Chiriqui. 


HOLMES.] 


HUMAN    FIGURE    IN    COPPER   AND    GOLD. 


43 


by  Mr.  McNiel,  and  now  owned  by  Mr.  Stearns.  It  exhibits  features 
corresponding  witli  a  number  of  those  referred  to  by  De  Zeltner. 
The  foundation  is  thin  and  is  of  base  metal  coated  with  pure  gold. 
I  present  two  additional  examples  of  the  human  figure  from  the  col 
lection  of  Mr.  Stearns.  One  of  them  (Fig.  2'.>)  is  an  interesting  little 


FIG.  29.  Grotesque  human  figure  in  nearly  pure  copper,  partially  coated  with  yellow  gold. 

statuette  in  dark  copper  that  still  retains  traces  of  the  former  gilding 
of  yellow  gold.  The  crown  is  flat  and  is  surrounded  by  a  fillet  of 
twisted  wire.  The  face  is  grotesque,  the  nose  being  bulbous,  the 
mouth  large,  and  the  lips  protruding.  The  hands  are  represented  as 
grasping  cords  of  wire  which  connect  the  waist  with  the  crown  of 
the  figure  and  seem  to  be  intended  for  the  bodies  of  serpents,  the 
heads  of  which  project  from  the  sides  of  the  headdress.  Similar 
serpents  project  from  the  ankles.  The  feet  are  flattened  out  as  if 
intended  to  beset  in  a  crevice.  The  extremities  —  excepting  the  feet  — 
and  the  ornaments  are  all  formed  of  wire.  The  various  parts  of  the 
figure  have  been  modeled  separately  and  set  together  while  the  ma- 


Fio.  30.  Grotesque  human  figure  in  nearly  pure  gold. 

terial  was  in  a  plastic  or  semiplastic  condition.     This  is  clearly  indi 
cated  by  the  sinking  of  one  part  into  another  at  the  points  of  contact. 


44  ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 

An  excellent  example  of  the  more  elaborate  figures  is  shown  in 
Fig.  30.  It  is  of  reddish  gold,  slightly  alloyed  apparently  with  cop 
per,  and  has  in  finishing  received  a  very  thin  wash  or  plating  of  yel 
low  gold,  which  is  worn  off  in  exposed  parts.  The  central  feature 
of  the  rather  complicated  structure  is  a  grotesque  human  figure, 
much  like  the  preceding,  and  having  counterparts  in  both  clay  and 
stone.  The  figure  is  backed  up  and  strengthened  by  two  curved  and 
flattened  bars  of  gold,  one  above  and  the  other  below,  as  seen  in  the 
cut.  The  figure  is  decked  with  and  almost  hidden  by  a  profusion  of 
curious  details,  executed  for  the  most  part  in  wire  and  representing 
serpents  and  birds.  Three  vulture-like  heads  project  from  the  crown 
and  overhang  the  face.  Two  serpents,  the  bodies  of  which  are  formed 
of  plaited  wire,  issue  from  the  mouth  of  the  figure  and  are  held  about 
the  neck  by  the  hands.  The  heads  of  the  serpents  are  formed  of  wire 
folded  in  triangular  form  and  are  supplied  with  double  coils  of 
wire  at  the  sides,  as  if  for  ears,  and  with  little  balls  of  gold  for 
eyes.  Similar  heads  project  from  the  sides  of  the  head  and  from  the 
feet  of  the  image. 

The  peculiarities  of  construction  are  seen  to  good  advantage  in  this 
specimen.  The  figure  is  made  up  of  a  great  number  of  separate 
pieces,  united  apparently  by  pressure  or  by  hammering  while  the 
material  was  somewhat  plastic.  Upwards  of  eighty  pieces  can  be 
counted.  The  larger  pieces,  forming  the  body  and  limbs,  are  hollow 
or  concave  behind.  Nearly  all  the  subordinate  parts  are  constructed 
of  wire. 

The  bird. — Images  of  birds  are  numerous  and  vary  greatly  in  size 
and  elaboration.  They  are  usually  represented  with  expanded  wings 
and  tails,  the  under  side  of  the  body  being  finished  for  show.  The 
back  is  left  concave  and  rough,  as  when  cast,  and  is  supplied  with 
a  ring  for  suspension  or  attachment,  as  seen  in  the  profile  view  (Fig. 
:51).  The  owl,  the  eagle,  the  parrot,  and  various  other  birds  are 
recognized,  although  determinations  of  varieties  are  not  possible,  as 
in  many  cases  the  forms  are  rude  or  greatly  obscured  by  extraneous 


,- 

FIG.  31  .  Rudely  executed  image  of  a  bird  in  gold. 


details.  The  example  shown  in  Fig.  :51  is  of  the  simplest  type  and 
the  rudest  workmanship,  and  is  apparently  intended  for  some  ra 
pacious  species,  possibly  a  vulture.  The  body,  wings,  and  tail  are 


I!IK1>    AND    I'l'MA     IN    (iOLI). 


45 


hammered  quite  thin  and  are  left  frayed  and  uneven  on  the  edges. 
The  material  appears  to  be  nearly  pure  copper  plated  with  yellow 
gold.  Specimens  of  this  class  are  very  numerous.  One,  presented 
in  a  publication  of  the  Society  of  Northern  Antiquaries,  and  now  in 

t  he  museum  ;it  (  '< >| MMI luiu'eu.  is  I  li<  Hi-lit  to  be  intended  !'<>r  ;i  i'\>\i  Imwk. 
as  it  carries  a  fish  in  its  mouth.  De  Zeltner  mentions  a  statuette  in 
gold  of  a  paroquet,  whose  head  is  ornamented  with  two  winged  tufts. 
Such  a  specimen  may  be  seen  in  the  collection  of  Mr.  Stearns. 


Fin.  32.  Image  of  a  bird  ill  pold,  from  Hollaort. 


Fig.  W  is  reproduced  from  Bollaert.  It  represents  a  parrot  and  is 
very  elaborately  worked. 

The  puma. — Representations  of  quadrupeds  are  common;  a  good 
example,  copied  from  Bollaert,  is  given  in  Fig.  33.  The  animal  in- 


Fio.  33.  Puma  sha|>ed  figure  in  cold. 


tended  is  apparently  a  puma,  a  favorite  subject  with  Chiriquian 
workers  in  clay  and  stone  as  well  as  in  gold.  The  body  is  hollow  and 
open  beneath  and  the  fore  feet  are  finished  -with  loops  for  suspen- 


Fio.  34.  Puma  shaped  figure  in  base  metal. 

sion.     A  similar  piece  with  head  thrown  back  over  the  body  is  shown 
in  Fig.  3-t.     The  metal  in  this  case  appears  to  be  nearly  pure  copper. 


4(J  ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

Gtrotesque  figure. — Another  piece  collected  by  Mr.  McNiel  is  out 
lined  in  Fig.  35.     The  metal  is  quite  base  and  the  sxirface  has  been 


Fm.  3S.  Quadruped  with  grotesque  face  in  base  metal. 

coated  with  gold,  which  is  now  nearly  all  rubbed  off.  The  shape  is 
that  of  a  quadruped.  The  face  has  a  rather  grotesque,  not  to  say 
satanic,  expression.  The  details  are  not  unlike  those  of  other  exam 
ples  previously  given. 

Thejixh. — The  fish  was  a  favorite  subject  with  the  ancient  nations 
of  Soiith  America,  and  is  modeled  in  clay,  woven  into  fabrics,  and 
worked  in  metals  with  remarkable  freedom.  It  wras  in  great  favor  in 
Chiriqui  and  must  have  been  of  importance  in  the  mythology  of  the 
country.  It  occurs  most  frequently  in  pottery,  where  it  is  executed 
in  color  and  modeled  in  the  round.  The  very  grotesque  specimen  in 
gold  shown  in  Fig.  30  is  copied  from  Harper's  Weekly  of  August  0, 


FIG.  36.  Figure  of  a  tish  in  gold.    From  Harper's  Weekly,  1859. 

1850.  where  it  forms  (me  of  a  number  of  illustrations  of  these  curious 
ornaments.  The  paper  is,  I  believe,  by  Dr.  F.  M.  Otis,  who  had  just 
returned  from  Panama.  A  very  curious  piece  owned  by  Mrs.  Philip 
Phillips,  of  Washington,  represents  a  creature  having  some  analogies 


FRO(i,    ALLIGATOR,    ETC. 


with  the  fish  figure  of  Otis.  Issuing  from  the  mouth  is  the  same 
forked  tongue,  each  part  terminating  in  a  serpent's  head.  The  body 
is  about  two  inches  long  and  the  back  has  five  triangular  perfora 
tions.  The  tail  is  forked  and  the  four  leg-like  members  terminate 
in  conventional  serpents'  heads.  The  metal  is  pure  or  nearly  pure 
gold. 

The  frog.— The  frog  appears  in  the  plastic  art  of  Chiriqui  more 
frequently  perhaps  than  any  other  reptile.  Its  form  is  reproduced 
with  much  spirit  and  in  greatly  varying  sizes,  degrees  of  elaboration, 
and  styles  of  presentation.  It  is  probable  that  a  number  of  species  are 
represented.  In  Fig.  37  we  have  a  large,  rather  plain  specimen,  now 


^^^•K-J       V._ 

FIG.  :1T.  I^arge  figure  of  a  frog  in  base  metal  plated  with  gold. 

in  the  National  Museum.     The  body  and  limbs  are  concave  beneath, 
the  metal  being  about  one-sixteenth  of  an  inch  thick.     Teeth  are 


FIG.  38.  Small  figure  of  a  frog,  in  base  metal  plated  with  gold. 

suggested  by  a  number  of  pert' orations  encircling  the  jaws  and  the 
eyes  are  minute  hawk  bells  containing  pellets  of  metal.     The  legs  are 


48 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


placed  in  characteristic  positions,  and  the  hind  feet  are  broad  plates 
without  indications  of  toes,  a  characteristic  of  these  golden  frogs. 
The  framework  or  foundation  is  of  copper,  apparently  nearly  pure, 
and  the  surface  is  plated  with  thin  sheet  gold,  which  tends  to  flake 
off  as  the  copper  foundation  corrodes. 

The  minute,  delicately  finished  example  given  in  Fig.  38  contrasts 
strongly  with  the  preceding.  It  is  also  of  base  metal  plated  with  pure 
gold  and  belongs  to  the  collection  of  Mr.  Stearns. 

The  alligator. — The  alligator,  which  appears  so  frequently  in  the 
pottery  of  Chiriqui,  is  only  occasionally  found  in  gold.  A  striking 


sff-X" — — — 


Fm.  30.  Figure  of  an  alligator,  in  gold,  published  in  Harper's  Weekly,  18.59. 

specimen,  illustrated  in  Harper's  Weekly  of  August  0,  1859,  is  given 
in  Fig.  39.  A  similar  piece,  formed  of  base  metal,  is  in  the  collection 
of  Mr.  Stearns. 

The  crayfish  (?). — In  Fig.  40  we  have  a  fine  specimen,  intended  ap- 


FIG.  40.  Animal  figure,  in  base  metal  plated  with  gold. 

parently  to  represent  a  crayfish  or  some  similar  crustacean  form.    The 
head  is  supplied  with  complicated  yet  graceful  antenna-like  append- 


IIOI.MKS.I  BKON/E    BELLS.  4f| 

ages,  made  of  wire  neatly  coiled  and  welded  together  by  pressure  or 
hammering.  The  eyes  are  globular  and  are  encircled  by  the  ends  of 
a  double  loop  of  wire  which  extends  along  the  back  and  incloses  a  line 
of  minute  balls  or  nodes.  The  peculiar  wings  and  tail  will  be  best  un 
derstood  by  referring  to  the  illustration.  The  foundation  metal  is  much 
corroded,  being  dark  and  rotten,  and  the  plating  of  reddish  gold  seems 
to  have  been  coated  with  a  thin  film  of  yellow  gold.  The  profile  view 
gives  a  good  idea  of  the  thickness  of  the  metal  and  of  the  relief  of 
the  parts.  Two  rings  or  loops  of  doubled  wire  are  attached  to  the 
extreme  end  of  the  nose  and  a  heavy  ring  for  suspending  is  fixed  to 
the  under  side  of  the  head. 

Miscellaneous. — Gold,  pure  and  in  Hie  usual  alloys,  was  also  used 
in  the  manufacture  of  other  articles,  such  as  bells,  beads,  disks. 
balls,  rings,  whistles,  thimble  shaped  objects,  and  amulets  of  varied 
shapes.  Bells  are  more  generally  made  of  bronze,  because,  perhaps, 
of  its  greater  degree  of  resonance.  Thin  plates,  or  rather  circular 
sheets,  of  gold  leaf  are  numerous.  One  mentioned  by  Bollaert  was 
7i  inches  in  diameter.  They  are  plain  or  crimped  about  the  mar- 
gins,,indented  in  various  ways,  and  sometimes  perforated,  apparently 
for  suspension  or  attachment.  Merritt  mentions  examples  having 
holes  which  showed  evidences  of  wear  upon  one  side  only,  indicating 
attachment  in  a  fixed  position  to  some  object  or  to  some  part  of  the 
costume.  But  one  example  is  at  hand,  a  thin  sheet,  three  inches  in 
diameter  and  crimped  or  indented  neatly  about  the  margin.  Its  thick 
ness  is  about  that  of  ordinary  tinfoil. 

BRONZE. 

Bcllx. — Bells  seem  to  have  been  in  pretty  general  use  by  the  more 
cultured  American  races  previous  to  the  conquest.  The  form  best 
known  is  the  hawk  bell,  or  common  sleighbell  of  the  North.  The 
globular  body  is  suspended  by  a  loop  at  the  top  and  is  slit  on  the  under 
side,  so  that  the  tinkling  of  the  small  free  pellets  of  metal  may  be  audi 
ble.  Such  bells  are  found  in  considerable  numbers  in  the  graves  of 
Chiriqui.  although  I  have  no  positive  assurance  that  any  of  the  ex 
amples  in  my  possession  were  actually  taken  from  graves  which  con 
tained  typical  Chiriquian  relics  of  other  classes.  The  specimens  now 
in  the  National  Museum  (Fig.  41)  are  in  most  cases,  if  not  in  all,  of 
bronze,  as  determined  by  Mr.  R.  B.  Riggs,  of  the  chemical  labora 
tory  of  the  United  States  Geological  Survey.  All  have  been  cast  in 
molds.  In  most  cases  there  are  traces  of  a  plating  of  gold.  The 
largest  is  H  inches  in  height  and  three-fourths  of  aiiinch  in  diameter. 
It  is  surmounted  by  the  rude  figure  o^f  an  animal,  through  or  beneath 
the'body  of  which  is  an  opening  for  the  attachment  of  a  cord.  Others 
have  simple  loops  at  the  top.  The  small  perforated  specimen  belongs 
to  Mr.  Stearns.  The  additional  piece  given  in  Fig.  42  is  unique  in  con 
ception.  It  represents  a  human  head,  which  takes  an  inverted  position 
0  ETH 4 


f)()  ANCIENT   ART   OF   THE   PROVINCE   OF   CHIKiyUI. 

when  the  bell  is  suspended.  The  lower  part  of  the  bell  forms  a 
conical  crown  to  the  head  and  the  ring  of  suspension  is  attached  to 
the  chin.  Double  coils  of  wire  take  the  place  of  the  ears,  and  the 


FIG.  41.  Bronze  bells  plated  or  washed  with  gold. 

other  features  are  formed  by  setting  on  bits  of  the  material  used  in 
modeling.  This  specimen  belongs  to  the  collection  of  Mr.  Stearns. 
Many  examples  of  more  elaborate  workmanship  have  been  recovered 
from  the  tombs  and  are  now  to  be  found  in  the  collections  of  America 
and  Europe. 


Fin.  I','.  Brouxe  bell  with  human  features. 

A  specimen  found  many  years  ago  on  the  Rio  Grande,  near  Panama, 
and  figured  in  Harper's  Weekly,  was  of  gold  and  showed  specific 
variations  from  the  Chiriquian  pieces.  It  will  be  seen  by  reference 
to  the  outline  given  in  Fig.  4.']  that  three  very  neatly  shaped  and 
gracefully  ornamented  bells  are  mounted  upon  a  circular  plate  to 
which  a  short  handle  is  attached.  It  was  evidently  not  intended  for 
suspension,  but  rather  to  be  held  in  the  hand  as  a  rattle. 

A  question  as  to  the  authenticity  of  these  bells  as  aboriginal  works 
very  naturally  arises,  and  it  may  bo  difficult  to  show  to  the  satisfac- 
lion  of  the  skeptical  mind  that  any  particular  specimen  is  not  of 
European  origin  or  inspiration.  At  the  same  time_we  are  not  without 
strong  evidences  that  such  bells  were  in  use  by  the  Americans  before 
the  advent  of  the  whites.  Historical  accounts  are  not  wanting,  but  I 
shall  only  stop  to  point  out  some  of  the  internal  evidences  of  the 
native  art.  The  strongest  argument  is  to  be  found  in  the  presence 


BRONZE    BELLS. 


of  analogous  features  in  other  branches  of  the  art  and  in  other  arts. 
The  eyes  of  the  golden  figures  of  reptiles  are  in  many  cases  minute 
hawk  hells,  and  in  works  of  clay,  the  purely  aboriginal  character  of 
which  has  not  been  called  in  question,  similar  features  are  discov- 


Fiu.  4tf.  Triple  lx-11  or  rattle  fcumcl  on  the  Rio  Oande. 

ered.  The  American  origin  of  the  bell,  -there fore,  is  not  to  be  ques 
tioned.  The  form  originated,  no  doxibt,  in  the  rattle,  at  first  a  nut 
shell  or  a  gourd;  later  it  was  modeled  in  clay,  and  in  time  the  same 
idea  was  worked  out  in  the  legs  and  the  ornaments  of  vessels  and  in  the 
heads  and  other  parts  of  animal  forms,  which  were  made  hollow  and 
supplied  with  tinkling  pellets.  With  the  acknowledged  skill  of  these 
people  in  the  working  of  metals,  there  is  no  reason  why  the  bells  de- 


FIG.  44.  Ancient  Mexican  licll. 


scribed  should  not  have  been  manufactured  independently  of  Euro 
pean  aid  and  influence,  provided  the  requisite  metal  was  at  hand. 


52  ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 

It  should  be  observed  that  if  these  early  American  bells  were  copied 
from  or  based  upon  Spanish  originals  they  would  not  probably  vary 
greatly  in  type  with  the  various  sections  from  which  they  are  recov 
ered,  but  it  is  observed  that  marked  and  persistent  differences  do 
occur.  The  well  known  Mexican  bell,  an  example  of  which  is  out 
lined  in  Fig.  44.  although  of  bronze,  is  generically  distinct  in  form 
and  construction. 

In  a  brief  review  I  may  recall  the  more  salient  points  regarding 
the  use  of  metals  in  ancient  Chiriqui.  Gold,  silver,  copper,  and  ap 
parently  tin  are  represented. 

Gold  and  copper  were  very  plentifully  distributed  among  the  isth 
mian  races,  but  we  have  little  information  as  to  the  sources  of  sup 
ply.  Free  gold  is  found  in  the  stream  beds  of  many  localities,  and 
copper  was  probably  found  in  its  native  state  in  some  convenient 
locality:  yet  it  is  not  impossible  that  these  metals  were  transported 
from  distant  regions,  as  the  inhabitants  of  Chiriqui  must  have  had 
considerable  intercourse  with  those  of  Central  America  on  the  north 
and  with  those  of  Granada  on  the  south.  Silver  and  tin  are  found 
in  alloys  with  gold  and  copper,  but  not  as  independent  metals. 
The  silver  gold  alloy  is  probably  a  natural  compound.  In  no  case 
have  I  found  silver  to  exceed  <>  per  cent,  of  the  composite  metal. 
Tin  was  artificially  alloyed  with  copper,  forming' bronze.  The  latter 
metal  resembles  our  ordinary  bronze  in  color  and  hardness,  but  I  am 
unable  to  secure  more  than  a  qualitative  analysis  011  account  of  the 
scarcity  of  specimens  available  for  the  purpose.  We  have  no  infor 
mation  in  regard  to  the  origin  of  the  tin.  It  is  not  found  in  a  native 
state,  and  since  it  seems  hardly  probable  that  the  Chiriquiaus  under 
stood  smelting  ores  we  are  left  in  doubt  as  to  whether  it  was  obtained 
from  more  cultured  nations  to  the  north  or  to  the  south  or  from  trans 
oceanic  countries. 

The  gold-copper  alloys  appear  to  range  between  pure  gold  and  pure 
copper.  If  the  bronze  is  of  European  origin,  then  we  must  conclude 
that  all  objects  made  of  that  metal  are  of  post-Columbian  manu 
facture.  This  question  will  probably  be  definitely  settled  in  the 
near  future. 

The  greater  number  of  the  objects  were  formed  by  casting  in  molds. 
Hammering  was  but  little  practiced,  excepting,  apparently,  in  the 
formation  of  sheet  gold,  which  was  probably  an  indigenous  product, 
Repousse"  work  is  not  found,  save  as  represented  in  the  crimping 
and  indenting  of  gold  leaf.  Engraving  and  carving  were  not  prac  - 
ticed.  It  may  be  considered  certain  that  gilding,  or  at  least  plating, 
was  understood. 

The  objects  are  obtained  from  ancient  graves  of  which  no  record 
or  reliable  tradition  is  preserved.  They  are  all  ornaments,  no  coin, 
weapon,  tool,  or  utensil  having  come  to  my  notice.  The  absence  of 


HOLMES.]  POTTERY.  53 

utensils  and  of  hammered  objects  of  any  kind  strikes  me  as  bein& 
rather  extraordinary,  since  it  is  popularly  supposed  that,  in  the  nor 
mal  succession  of  events,  hammering  should  precede  casting  and  that 
utensils  should  be  made  before  elaborate  ornaments. 

The  work  exhibits  close  analogies  with  that  of  the  mainland  of 
South  America,  but  these  analogies  appear  to  be  in  material,  treat 
ment,  and  scope  of  employment  rather  than  in  the  subject  matter  of 
the  conceptions.  The  personages  and  zoomorphic  characters  repre 
sented  are  characteristically  Chiriquian,  and  were  derived  no  doubt 
from  the  mythology  of  the  locality.  These  works  affiliate  with  the 
various  works  in  stone  and  clay,  the  art  products  of  the  province 
thus  constituting  a  fairly  homogeneous  whole  and  being  entirely  free 
from  traces  of  European  influence. 

Metals  do  not  come  into  use  early  in  the  history  of  a  race,  as  they 
are  not  found  in  shapes  or  conditions  suitable  for  immediate  use,  nor 
are  they  sufficiently  showy  when  found  to  be  especially  desirable  for 
ornaments.  A  long  period  must  have  elapsed  before  the  use  of  metals 
was  discovered,  and  a  longer  period  must  have  passed  before  they  were 
worked;  and,  in  the  light  of  our  knowledge  of  the  ancient  tribes  of 
the  United  States,  it  would  seem  that  a  considerable  degree  of  cultui'e 
may  be  achieved  before  the  casting  of  metals  is  understood;  but  in 
the  ordinary  course  of  progress  the  discovery  of  methods  of  alloying 
rare  metals  would  be  far  separated  from  that  of  the  simple  fusing 
and  casting  of  a  single  metal,  such  as  gold.  The  Chiriquian  peoples 
not  only  had  a  knowledge  of  the  methods  of  alloying  gold  with  cop 
per,  and,  apparently,  copper  with  tin,  but,  if  our  data  are  correct, 
they  were  able  to  plate  the  baser  metals  and  alloys  with  sheet  gold, 
and.  what  is  far  more  wonderful,  to  wash  them  with  gold,  producing 
an  effect  identical  with  that  of  our  galvanic  processes. 

The  character  of  the  conceptions  embodied  in  the  art  unite  with 
evidences  of  technical  skill  to  prove  to  us  that  American  culture,  as 
represented  by  the  metal  ornaments  of  Chiriqui.  was  not  the  product 
of  a  day.  but  of  long  periods  of  experiment  and  progress. 

POTTERY. 

Preliminary. — The  importance  of  the  potter's  art  to  archaeology 
has  often  been  pointed  out.  Baked  clay  is  one  of  the  most  enduring 
materials  utilized  in  art,  and  its  employment  by  the  races  of  men  has 
fallen  but  little  short  of  universal.  The  creations  of  that  noblest  of 
arts,  architecture,  and  the  antecedent  forms  of  house  building  are 
necessarily  left  where  erected,  to  be  fed  upon  by  the  remorseless  ele 
ments  of  nature,  but  the  less  pretentious  utensil  of  clay  accompanies 
its  owner  to  the  tomb,  where  it  remains  practically  unchanged  for 
ages. 

Many  glimpses  of  the  early  history  of  the  American  races  and  of 


54  ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

the  progress  of  art  in  pre-Columbian  times  are  obtained  through  these 
exhumed  relics,  and  in  no  case  have  we  a  view  more  clear  and  compre 
hensive  than  that  furnished  in  the  series  here  presented.  The  graves 
of  Chiriqui  have  yielded  to  a  single  explorer  upwards  of  10,000  pieces 
of  pottery,  and  this  chiefly  from  an  area  perhaps  not  more  than  fifty 
miles  square.  These  vessels  constitute  at  least  !)0  per  cent,  of  the 
known  art  of  the  ancient  occupants  of  the  province,  and,  although 
not  so  eloquent  of  the  past  as  are  the  inscribed  tablets  of  Assyria  or 
the  pictured  vases  of  Greece,  they  tell  a  story  of  art  and  of  peoples 
that  without  their  aid  would  remain  untold  to  the  end  of  time. 

A  careful  study  of  the  earthenware  of  this  province  leads  to  the 
conclusion  that  for  America  it  represents  a  very  high  stage  of  devel 
opment,  and  its  history  is  therefore  full  of  interest  to  the  student  of 
art.  Its  advanced  development  as  compared  with  other  American 
fictile  products  is  shown  in  the  perfection  of  its  technique,  in  the  high 
specialization  of  form,  and  in  its  conventional  use  of  a  wide  range  of 
decorative  motives.  There  is  no  family  of  American  ware  that  bears 
evidence  of  higher  skill  in  the  manipulation  of  clay  or  that  indicates 
a  more  subtile  appreciation  of  beauty  of  form,  and  no  other  that  pre 
sents  so  many  marked  analogies  to  the  classic  forms  of  the  Mediter 
ranean.  Strangely  enough,  too,  notwithstanding  the  well  established 
fact  that  only  primitive  methods  of  manufacture  were  known,  there 
is  a  parallelism  with  wheel  made  ware  that  cannot  but  strike  the 
student  with  amazement. 

In  speaking  thus  of  the  whole  body  of  ceramic  prodiicts,  I  would 
not  convey  the  impression  that  there  is  perfect  homogeneity  through 
out,  as  if  all  were  the  work  of  a  single  people  developed  from  within, 
and  therefore  free  from  the  eccentricities  that  come  from  exotic  in 
fluence.  On  the  contrary,  there  is  strong  evidence  of  mixed  conditions 
of  races  and  of  arts,  the  analysis  of  which,  with  our  present  imperfect 
data,  will  be  extremely  difficult.  These  evidences  of  mixed  conditions 
are  found  in  the  marked  diversity  and  individuality  of  character  of 
the  various  groups  of  ware. 

It  is  impossible,  without  the  aid  of  careful  observations  in  the 
field,  to  arrive  at  any  conckision  as  to  the  relative  age  of  the  differ 
ent  varieties  of  ware.  Appearances  of  age  are  deceptive;  the  newer 
looking  varieties  may  be  the  older  and  those  executed  in  the  most 
primitive  style  may  belong  to  the  later  period,  for  grades  in  ciilture 
are  not  chronologic. 

With  reference  to  the  principal  groups  of  relics,  we  cannot  do  bet 
ter  than  accept  the  statements  of  collectors  that  all  are  buried  in  like 
ways  and  in  similar  tombs,  different  varieties  in  many  cases  occurring 
in  the  same  tomb.  There  are,  however,  in  a  few  minor  groups  such 
marked  distinctions  in  workmanship  and  style  that  we  are  compelled 
to  attribute  them  to  different  periods  or  to  distinct  communities. 


HOLMES. I          POTTERY.    HOW   FOUND    ANDi   MATKKTAL    I'SEI).  55 

The  groups  separated  most  completely  from  others  are  the  scari- 
fied  pottery  presented  first  in  the  series  of  painted  wares,  the  maroon 
group,  which  follows,  and  other  varieties  represented  by  fugitive 
pieces.  The  latter  may  have 'reached  Chiriqui  from  neighboring 
provinces.  There  are  certain  pieces  that  speak  decidedly  of  Costa 
llican  influence  and  others  that  find  their  counterparts  in  the  Colom 
bian  states  to  the  south. 

In  art  in  clay  in  most  countries  the  vessel  is  the  leading  idea,  the 
center  about  which  nearly  the  entire  ceramic  art  is  gathered.  This  is 
true  in  a  marked  degree  in  Chiriqui.  and  vessels  are  therefore  given 
I  lie  first  place  in  this  paper.  The  less  usual  forms  include  drums, 
whistles,  rattles,  stools,  spindle  whorls,  needlecases,  and  toy-like  im 
ages,  all  of  which  present  features  of  peculiar  interest.  These  classes 
of  objects  are  discussed  in  separate  sections. 

There  are  few  indications  of  an  ambition  to  model  natural  forms 
or  mythologic  figures  independently  of  utensils  and  useful  objects, 
and.  strange  to  say,  no  pieces  are  found  that  portray  the  human  face 
and  figure  with  even  a  fair  degree  of  approach  to  nature. 

How  found. — In  describing  the  graves  and  tombs  in  a  previous 
section,  I  alluded  to  the  manner  in  which  the  pottery  was  deposited. 
It  appears  to  have  been,  buried  with  the  dead  or  thrown  into  the  grave 
with  the  earth  and  stones  with  which  the  pit  was  filled.  There  was 
little  regularity  in  the  place  or  position  of  the  vessels  and  many  were 
broken  when  found.  The  precise  use  of  the  vessels,  the  character  of' 
the  contents,  or  the  relation  of  particular  pieces  to  the  remains  of  the 
dead  cannot  lie  determined.  Although  the  human  remains  have 
almost  entirely  disappeared  and  there  are  no  traces  left  of  utensils  of 
wood,  bone,  horn,  or  shell,  the  paste,  slip,  and  colors  are  wonderfully 
well  preserved  and  the  surface  is  not  even  discolored  by  contact  with 
the  earth.  When  found,  every  crevice  and  cavity  is  completely  filled 
with  earth,  and  the  paste  is  often  so  tender  that  the  vessels  have  to 
be  dried  with  great  care  before  they  can  be  handled  with  freedom. 
The  number  of  pieces  found  in  a  grave  sometimes  reaches  twenty, 
but  the  average  is  perhaps  not  above  three  or  four. 

Material. — The  material  used  in  the  manufacture  of  this  ware  is 
remarkably  xiniform  throughout  the  whole  province,  varying  slightly 
with  the  locality,  with  the  group,  and  with  the  character  of  the  vessel 
constructed.  Generally  the  paste  consists  of  a  matrix  of  fine  clay 
tempered  with  finely  pulverized  sand,  in  which  may  be  detected  grains 
of  quartz,  feldspar,  hornblende,  augite,  particles  of  iron  oxide.  &c. 
Argillaceous  matter  lias  been  sparingly  used,  the  sand  in  many  cases 
comprising  at  least  75  per  cent,  of  the  mass.  Many  of  the  unpainted 
specimens,  from  which  the  polished  slip  has  been  removed,  give  off 
showers  of  fine  sand  when  rubbed  by  the  hand,  and  it  is  difficult  to 
detect  the  presence  of  any  finely  comminuted  matrix  whatever.  The 


56  ANCIENT    ART   OF   THE    PROVINCE    OF   CHIRIQUl. 

thin  slip  employed  in  surface  finish  is  more  highly  argillaceous  than 
the  paste.  The  clay  used  was  probably  mostly  light  in  color,  as  the 
paste  is  now  quite  uniformly  so.  The  baking  was  effected  apparently 
without  a  very  high  degree  of  temperature  and  by  methods  that  left 
few  marks  or  discolorations  upon  the  vessels.  In  hardness  and  dura 
bility  the  paste  corresponds  pretty  closely  with  that  of  our  red  porous 
earthenware.  The  softer  pieces  can  be  scratched  or  even  carved  with 
a  knife.  Water  will  penetrate  any  of  these  vessels  in  a  few  minutes, 
but  decay  has  probably  tended  to  make  the  walls  more  porous. 

Manufacture. — There  is  no  piece  of  this  ware  that  does  not  bear 
evidence  of  a  high  degree  of  skill  on  the  part  of  the  potter;  and  yet, 
owing  to  the  thorough  manner  in  which  the  work  is  finished,  the 
precise  methods  of  manipulation  are  not  easily  detected.  So  great  is 
the  symmetry  and  so  graceful  are  the  shapes  that  one  is  led  to  suspect 
the  employment  of  mechanical  devices  of  a  high  order.  The  casual 
observer  would  at  once  arrive  at  the  conclusion  that  the  wheel  or 
molds  had  been  used,  but  it  is  impossible  to  detect  the  use  of  any 
such  appliances.  We  observe  that  irregular  and  complex  forms,  in 
the  production  of  which  mechanical  appliances  could  not  be  used  to 
advantage,  are  modeled  with  as  much  grace  of  contour  and  perfec 
tion  of  surface  as  are  the  simpler  shapes  that  could  be  turned  upon 
a  wheel,  and  we  conclude  that  with  this  remarkable  people  the  hand 
and  the  eye  were  so  highly  educated  that  mechanical  aids  were  not 
indispensable.  I  find  no  evidence  that  coil  building  was  systematic 
ally  practiced,  but  it  is  clear  that  parts  of  complex  forms- were  mod 
eled  separately  and  afterwards  united.  The  various  ornaments  in  re 
lief  (the  heads  and  other  parts  of  animals)  and  the  handles,  legs,  and 
bases  of  vessels  were  constructed  separately  and  then  luted  on,  and 
with  such  skill  that  the  thinnest  walls  and  the  most  complex  and 
delicate  forms  were  not  injured  in  the  process.  The  contact  irregu 
larities  were  then  worked  down,  and  every  part  of  the  surface,  in 
cluding  the  more  important  ornaments,  were  rendered  smooth,  pre 
paratory  to  the  application  of  the  thin  surface  wash  or  slip.  After 
the  slip  was  applied  and  the  clay  became  somewhat  indurated,  the 
surface  was  polished  with  smooth  pebbles,  the  marks  of  which  can 
be  seen  on  the  less  accessible  parts  of  the  vessel.  On  the  exposed 
surfaces  of  certain  groups  of  ware  the  polish  is  in  many  cases  so  per 
fect  that  casual  observers  and  inexperienced  persons  take  it  for  a 
glaze.  Incised  figures  and  painted  decorations  were  generally  exe 
cuted  after  the  polishing  was  complete.  Details  of  processes  will  be 
given  as  the  various  classes  of  ware  pass  under  review. 

The  methods  of  baking  were  apparently  of  a  higher  order  than 
those  practiced  in  many  parts  of  America.  One  rarely  discovers 
traces  of  the  dark  discolorations  that  result  from  primitive  methods 
of  baking,  yet  there  are  none  of  the  contact  marks  that  arise  from 
the  furnace  firing  of  Spanish-American  potters. 


HOLMES.)       MANUFACTURE,  COLORS,  AND   USES  OF   POTTERY.  57 

Color.—  The  colors  of  the  ware  and  of  the  surface  applications  vary 
decidedly  with  the  different  grotips.  The  prevailing  colors  of  the 
paste  may  be  denned  as  ranging  from  very  light  yellow  grays  to  a 
variety  of  ochery  yellows  and  very  pale  terra  cotta  reds.  In  one  or 
two  groups  there  is  an  approach  to  salmon  and  orange  hues,  and  in 
another  the  color  is  black  or  dark  brown.  The  color  within  the  mass 
is  in  some  cases  darker  than  upon  the  surface,  an  effect  produced  in 
baking,  and  not  through  the  use  of  different  clays.  The  slip  is  usually 
lighter  than  the  surface  of  the  paste. 

The  colors  used  in  finishing  and  decorating  are  confined  to  reds, 
blacks,  and  purple  grays.  In  one  large  group  of  ware  the  appear 
ance  of  the  delineations  is  such  as  to  lead  to  the  conclusion  that  the 
principal  pigment  or  fluid  employed  in  delineation  has  totally  dis 
appeared,  carrying  with  it  all  underlying  colors  not  of  unusual  per 
manence  or  not  worked  down  with  the  polishing  implement.  The 
Aztec  and  other  races  of  tropical  America  used  an  argillaceous,  white 
pigment  in  decorating  their  wares,  which  has  in  many  cases  partially 
or  wholly  disappeared,  carrying  away  considerable  portions  of  the 
colors  over  which  it  was  laid,  while  in  other  cases,  and  also  in  this 
Chiriqui  ware,  there  is  no  trace  of  color  remaining  and  we  are  left  to 
surmise  that  the  brush  used  probably  contained  merely  a  "taking 
out''  medium.  Red  was  profusely  used  and  varies  from  a  light  ver 
milion  to  a  deep  maroon.  In  certain  classes  of  vessels  it  was  hastily 
daubed  on,  covering  prominent  parts  of  the  surface  or  forming  irreg 
ular  spots,  streaks,  and  rude  figures.  In  two  groups  of  ware  it  was 
used  as  the  chief  delineating  color.  In  some  cases  it  was  employed  as 
a  wash  or  slip  and  was  worked  down  with  the  polishing  stone,  and  in 
this  condition  it  was  treated  as  a  ground  upon  which  to  execute  de 
signs  in  other  colors.  It  is  always  a  fast  color  and  is  probably  of 
mineral  character. 

The  blacks  are  of  two  kinds,  which  are  used  in  distinct  groups  of 
ware :  one,  probably  a  mineral  pigment,  somewhat  pasty  when  ap 
plied  and  quite  permanent,  is  always  used  in  delineating  the  orna 
mental  figures ;  the  other,  possibly  a  vegetable  tint,  is  always  used 
as  a  ground  upon  which  to  execute  designs  in  other  mediums.  It  is 
confined  to  a  single  group  of  ware.  It  has  in  many  cases  disappeared 
entirely,  and  where  remaining  can  be  removed  with  ease  by  rubbing. 

A  light  piirple  tint  is  tastefully  and  sparingly  employed  in  one 
group  of  ware.  Browns  and  other  hues  occur  but  rarely  and  in  all 
cases  result  from  alterations  of  other  colors  produced  in  firing.  The 
color  effects  of  this  pottery,  although  evidently  much  modified  by 
age,  are  sufficiently  rich  to  be  highly  pleasing  to  the  eye. 

Use. — The  uses  to  which  most  classes  of  earthen  products  were  ap 
plied  are  easily  determined.  Whistles,  drums,  rattles,  and  spindle 
whoi-ls  have  definite  duties  to  perform,  and  vessels,  as  to  general  scope 
of  function,  answer  for  themselves :  but  when  we  come  to  inquire 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


into  the  particular  uses  of  the  various  groups  of  vessels  we  are  often 
at  a  loss.  The  majority  of  the  pieces  show  no  abrasion  by  handling 
or  discoloration  by  fire  or  by  contents,  and  I  am  inclined  to  believe 
that  a  large  portion  were  taken  directly  from  the  furnace  and  depos 
ited  in  the  tombs.  This  implies  manufacture  for  purely  mortuary 
purposes. 

Two  important  groups,  the  high  tripods  and  the  two  handled  cups 
or  pots,  are  generally  discolored  by  use  over  fire,  but  we  cannot  say 
with  confidence  whether  that  use  was  a  domestic  one  or  whether  it 
was  ceremonial.  The  small  size  and  the  elaborate  modeling  of  a 
majority  of  the  pieces  make  it  appear  improbable  that  they  were  in 
tended  for  use  in  ordinary  cooking  or  even  in  the  preparation  of 
beverages.  A  few  large  plain  caldrons  are  found,  and  these  were 
probably  domestic  receptacles.  All  things  considered,  it  would  seem 
highly  probable  that  the  greater  portion  of  the  vessels  exhumed  from 
the  graves  were  intended  to  be  used  for  religious  and  mortuary  pur 
poses. 

The  preceding  paragraphs  refer,  for  the  most  part,  to  the  whole 
body  of  earthenware  products,  but  throughout  the  rest  of  this  sec 
tion  I  shall  treat  of  vessels  only,  except  in  the  matter  of  decoration, 
which  refers  equally  to  all  classes  of  objects. 

Forms  of  vessels. — Divesting  the  utensil  of  extraneous  features, 
such  as  rims,  handles,  and  legs,  we  have  the  following  series  of 
shapes,  which  shows  a  pretty  full  graduation  of  outline  from  ex 
treme  to  extreme.  Beginning  with  the  simplest  fundamental  form, 
the  shallow  cup  (Fig.  45,  a),  we  ascend  gradually  to  more  complex 
outlines,  such  as  are  seen  in  the  hemispherical  bowl  (b),  the  deep  basin 
with  slightly  incurved  rim  (c),  the  globular  form  (d),  and  the  elon- 


Fio.  45.  Fundamental  forms  of  vases  — convex  outlines. 

gated  form  (e).  Occasionally  we  see  an  eccentric  variation,  such  as 
is  shown  in  /.  Flat  bottoms  are  unusual ;  a  conical  base  is  the  rule. 
Outlines  do  not  always  exhibit  these  even,  convex  curves,  but  many 
are  straight  or  concave  in  profile,  as  shown  in  Fig.  40.  Complex 


FORMS    OK    VKSSKLS. 


forms  are  shown  in  "Fig.  47,  a  and  b,  and  compound  forms  in  Fig.  48, 
a  and  b.     Examples  of  these  classes  are  numerous  and  important. 


I,  c  d  e 

Via.  4(1.  Fundamental  forms  of  vases  — angular  outlines. 

The  compound  shapes  result  from  the  union  of  two  or  more  .simple 
forms.  Eccentric  forms  are  numerous  and  result  in  a  majority  of 
cases  from  the  employment  of  some  animal  as  a  model.  Thus,  if  an 


FIG.  -47.  Vases  of  complex  outlines  —  exceptional  forms. 

alligator  or  almost  any  quadruped  is  embodied  in  the  vessel,  the  form 
tends  to  become  elongated;  if  a  crab  or  a  fish  is  imitated,  there  is  a 
tendency  to  flatness  &c.  The  base  is  almost  universally  more  or  less 


FIG.  48.  Vases  of  compound  forms. 


conical,  is  rarely  flat,  and  never  concave,  excepting  as  the  result  of 
the  addition  of  an  annular  foot  or  stand.     The  radical  shapes  do  not 


FIG.  40.  Square  lipped  vessel. 


undergo  any  considerable  change  when  rkns,  necks,  handles,  legs, 
and  other  appendages  are  added.  The  rim  or  lip  is  in  many  cases 
incurved,  but  as  a  rule  it  is  turned  outward.  The  margin  is  plain. 


00  AXCIENT    ART    OF   THE    PROVINCE    OF   CHIRIQUI. 

symmetrical,  and  often  considerably  thickened.  In  a  few  instances 
the  outline  is  rectangular  or  scalloped,  as  shown  in  Fig.  49,  and  the 
attachment  of  handles  often  leads  to  peculiar  outlines,  as  will  be  seen 
further  on. 

The  neck  in  its  simplest  form  is  a  narrow  upright  band  surrounding 
the  orifice  (Fig.  50,  a)  and  is  not  differentiated  from  the  rim.  Varia 
tions  in  size  and  shape  are  shown  in  the  remaining  figures  of  the 
series.  In  6  it  is  a  narrow  constricted  band  beneath  an  overhanging 
rim,  in  c  it  is  iipright  and  considerably  elongated,  and  in  d  it  expands, 
giving  a  funnel  shaped  mouth.  The  exterior  surface  is  very  gen- 


ii  bed 

FIG.  50.  Variations  in  the  forms  of  necks  and  rims  —  various  groups  of  ware. 

erally  decorated  with  relieved  or  painted  devices.     High  necked  bot 
tles  and  pitcher  shaped  vessels  are  unknown. 

Handles  constitute  a  very  interesting  feature  of  this  pottery  and 
are  much  varied  in  shape  and  arrangement.     In  a  few  cases  the  handle 


FIG.  51.  Arrangement  of  handles  —  various  groups  of  ware. 

is  a  single  arch  springing  over  the  orifice,  as  seen  in  Fig.  51,  a.  Again, 
the  handle  is  attached  to  one  side,  as  in  b.  but  as  a  rule  handles  occur 
in  twos  upon  the  shoulder,  one  on  either  side  of  the  aperture.  They 
are  horizontally  attached,  as  in  c,  or  vertically  placed,  as  in  d.  connect 
ing  the  rim  with  the  shoulder,  or  they  occur  low  on  the  body,  as  in  e. 
In  rare  cases  there  are  four  handles,  which  are  arranged  as  seen  in  / 
or  are  set  on  in  pairs.  In  the  elaboration  of  handles,  the  use  made  of 
animal  forms  is  perhaps  the  most  notable  feature.  Grotesque  figures 
are  made  to  take  the  place  of  handles  or  are  attached  to  or  placed  near 


ROI.MFH.] 


KORMS    OF    VKSSKLS. 


them.  The  treatment,  is  so  varied  that  I  shall  have  to  refer  the  stu 
dent  to  the  subsequent  series  of  illustrations. 

Annular  bases  or  feet  were  not  in  very  general  use  in  Chiriqui,  al 
though  in  some  cases  they  are  modeled  with  a  great  deal  of  grace. 
The  shape  varies  from  a  simple  ring,  barely  deep  enough  to  give  a 
firm  support  to  the  vessel  when  placed  upon  a  level  surface,  to  a  long, 
attenuated  column  with  flaring  base.  The  latter  is  perhaps  one  of 
the  nearest  approaches  which  America  lias  furnished  to  the  slender 
foot  characteristic  of  the  wheel  made  ware  of  Mediterranean  countries. 

The  vessel  shown  in  Fig.  52,  a,  has  a  somewhat  rudimentary  foot; 
another,  l>.  a  linn,  wide  base,  which  is  perforated  to  give  lightness; 
an  hourglass-like  piece  is  shown  in  c,  and  a  long,  bell  shaped  foot  is 
seen  in  (1.  In  no  part  of  the  world  do  earthen  vessels  exhibit  such  a 
remarkable  development  of  legs  as  in  Southern  Central  America. 


I:  C 

FIG.  52.  Types  of  annular  bases  or  feet  —  various  groups  of  ware. 

The  tripod  is  the  favorite  support,  and  in  Chiriqui  the  forms  are  more 
graceful  than  in  the  neighboring  provinces.  In  a  few  cases,  where 
the  body  was  modeled  in  close  imitation  of  animal  forms,  four  legs 
were  used,  but  three  were  generally  preferred,  even  for  vessels  of  rect 
angular  or  irregular  shapes.  In  the  simplest  form  they  are  small 
conical  knobs,  placed  rather  close  together  about  the  base  of  the  vessel 
(Fig.  53,  a),  but  from  these  the  dimensions  increase  until  the  size  is  out 
of  all  reasonable  proportion.  The  maximum  development  in  point  of 
expansion  is  seen  in  b  and  the  greatest  height  in  c.  They  are  fre 
quently  modeled  after  life  forms.  In  a  few  cases  rings  or  loops  are 


Biscuit  ware.  Biscuit  ware.  Tripoli  group. 

FIG.  53.  Forms  of  legs —  various  groups  of  ware. 


Red  line  group. 


employed,  as  shown  in  d.  The  larger  forms,  and  especially  those  imi. 
tating  animals,  are  hollow  and  contain  round  pellets  of  clay  that  rattle 
when  the  vessel  is  moved.  The  manner  in  which  the  legs  are  attached 
to  the  body  of  the  vessel  leads  me  to  observe  that  the  vessel  is  hide- 


Q2  ANCIENT    ART    OF   THE    PROVINCE    OF    CHIRIQUI. 

pendently  a  perfect  utensil,  and  that  in  all  probability  the  tripod  was 
a  feature  acquired  late  in  the  progress  of  Chiriquiaii  culture,  as  a  re 
sult  of  some  change  in  the  surroundings  of  the  people  or  in  the  uses 
to  which  the  vessel  was  devoted.  Annular  bases  and  tripods  would 
be  of  little  use  until  level  floors  of  unyielding  material  came  into 
vogiie. 

Decoration. — In  decoration  the  pottery  of  this  province  exhibits 
many  remarkable  features.  The  work  resembles  somewhat  closely. 
in  a  number  of  its  features,  that  of  certain  districts  lying  to  the  north 
and  to  the  south,  but  at  the  same  time  it  is  possessed  of  very  decided 
individuality.  From  an  examination  of  the  designs  I  conclude  that 
they  represent  a  period  of  culture  considerably  inferior  to  that  of 
some  more  northern  sections,  although  the  ware  itself  is  nowhere 
surpassed  in  grace  of  form  and  delicacy  of  finish. 

The  ornamentation  is  pretty  evenly  divided  between  plastic  and  flat 
forms.  The  former  include  relieved  features  and  intaglio  features, 
which  are  executed  in  the  plastic  clay,  and  the  latter  comprise  figures  in 
color,  penciled  or  painted  upon  the  surface.  Each  style  of  work 
embodies  its  own  peculiar  class  of  conceptions.  Relief  work  is  generally 
realistic  or  grotesque;  incised  work  is  almost  exclusively  geometric, 
and  embraces  combinations  of  lines  usually  recognized  as  archaic. 
An  occasional  example  is  easily  recognized  as  imitative.  Painted 
figures  are  both  geometric  and  imitative,  the  two  forms  blending  im 
perceptibly. 

The  more  important  plastic  decorations  consist  of  animal  forms 
modeled  in  the  round.  Vegetable  forms  have  not  been  employed. 
Fillets  of  clay  imitating  twisted  cords  are  sparingly  used  in  the  dec 
oration  of  necks  and  handles,  and  rows  and  groups  of  small  nodes 
are  similarly  employed.  The  human  figure  is  always  treated  in  a 
conventional  and  usually  in  a  grotesque  manner.  The  animals  imi 
tated  include  a  very  large  number  of  species.  Crocodiles,  pumas, 
armadillos,  monkeys,  crabs,  lizards,  scorpions,  frogs,  and  fish  appear 
very  frequently.  Many  of  the  animals,  owing  to  conventional  treat 
ment  or  to  carelessness  011  the  part  of  the  modeler,  are  difficult  of 
identification.  These  plastic  forms  occur  in  nearly  all  the  groups  of 
ware,  and  similar  forms  are  found  to  a  limited  extent  in  gold,  cop 
per,  and  stone,  as  will  be  seen  by  reference  to  the  illustrations  already 
given.  Their  study  will,  I  believe,  give  some  insight  into  the  mental 
characteristics  of  the  Chiriquians.  That  their  art,  so  far  as  these 
figures  are  concerned,  was  not  serious  is  indicated  by  the  sketchy, 
unsystematic  nature  of  the  work,  and  more  especially  by  the  gro 
tesque  and  occasionally  amusing  representation  of  men  and  animals. 

The  figures  are  usually  placed  upon  the  shoulder  of  the  vessel  or 
are  attached  to  the  legs  and  handles  or  form  part  of  them.  The 
favorite  subjects  are  doleful  little  figures,  human  or  partly  so,  fixed 
upon  the  vessel  in  a  sitting  posture,  with  legs  and  arms  doubled  up, 


IIHI.MES.] 


DKCOKATION    OK    I'OTTKItY. 


and  with  expressions  which  appear  to  indicate  a  variety  of  exagger 
ated  emotions  (Figs.  54,  55,  50). 


FIG.  54. 


Fie.  fiti. 
fjrotesque  fiprtirps  forming  the  handles  (if  small  vases  — terra  cotta  proup. 

The  exuberance  of  fancy  often  found  vent  in  the  production  of 
monstrosities,  such  as  are  seen  in  Figs.  57  and  58,  in  which  the  arms 


FIG.  5".  Fio.  58. 

Monstrous  fipures.  with  serpent -shaped  extremities  —  handled  Kroup. 


(II 


ANCIENT    ART    OF   THE    PROVINCE    OK    CHIRIQUI. 


and  legs  of  the  figiires  are  writhing  serpents,  the  faces  expressing 
great  agony;  in  other  cases  the  figures  are  double ;  and  again  two 
bodies  united  at  the  waist  have  but  one  pair  of  legs.  An  iinusxially 
grotesque  creature  is  seen  in  Figs.  5!t  and  Of),  and  another  is  given  in 
Fig.  01.  Similar  figures  are  worked  in  gold,  one  of  which  is  now 


FIG.  5U. 


FIG.  61. 
Grotesque  figures     terra  cotta  group. 


FIG.  00. 


worn  as  a  charm  by  Mr.  J.  B.  Stearns.     Figures  of  monkeys  are  shown 
in  Figs.  02,  o;i,  and  04.     One  creature,  represented  as  having  a  long, 


FIG.  02.  Figure  of  monkey— terra  cotta  group. 


Fia  63.  FIG.  64. 

Figures  of  monkeys  -  terra  rotta  group. 

trunk-like  snout,  recurs  frequently.     Such  a  form  discovered  in  the 
earlier  days  of  archa'ologic  investigation  would  probably  have  given 


H.MKS.  [ 


DKCOKA'I  ION    OF    I'OTTKHV. 


(if) 


rise  to  inaiiv  surmises  us  to  tin-  contemporaneous  existence  of  nmn 
and  the  ('lei)liiint  in  Cliiri(|ui.  In  reality  the  original  was  probably 
some  unassuming  little  inhabitant  of  the  isthmian  jungles.  This 
creature  is  shown  in  profile  in  Fig.  (>;>.  «.  and  front  views  are  given  in  l> 
;mcl  r.  Innumerable  examples,  embracing  most  of  the  more  impor- 


Fio.  <iT>.  Animal  forms  exhibiting  a  long  proboseis      handled  group. 

tant  animals  of  Chiri<iui.  could  be  given,  but  in  a  majority  of  cases 
identification  is  difficult  or  impossible,  as  there  has  been  little  or  no 
effort  to  reproduce  nature  with  fidelity.  But  the  chief  interest  sur 
rounding  these  figures  is  not  found  in  the  variety  of  creatures  shown 
or  in  the  character  of  the  delineation,  but  in  the  manner  of  their  em 
ployment  in  the  embellishment  of  ceramic  forms.  The  ancient  potter 
must  have  possessed  a  keen  sense  of  grace  of  form  and  of  the  proper 
adjustment  of  parts.  The  most  cultured  taste  could  hardly  improve 


Fio.  ««.  FIO.  fir. 

Vases  illustrating  ornamental  use  of  animal  figures  —  terra  cotta  group. 

upon  the  lines  of  the  vases  presented  in  Figs.  66  and  (>?.  which  employ 
the  frog,  and  in  Figs.  68  and  <>!).  in  which  other  creatures  are  used. 
Many  equally   pleasing  examples  are   illustrated    further  on.     The 
i;  KTH 5 


ANCIENT    AKT    OV    THE    PROVINCE    OF    CHIRiyUI. 


question  very  naturally  arises  as  to  whether  these  little  figures  had 
any  meaning  or  performed  any  function  aside  from  that  of  simple 


Ki<i.  OK  FIG.  60. 

Vases  illustrating  ornamental  use  of  animal  figures  — terra  cotta  group. 

decoration.  I  feel  inclined  to  take  the  view  that  in  their  present  con 
dition  they  are  survivals  of  ideographic  originals;  that  if  their  past 
could  be  unveiled  we  would  find  that  in  the  primitive  ages  they  were 
not  exclusively  employed  for  ornament.  The  animals  made  use  of 
originally  were  the  embodiment  of  mythologic  conceptions,  and  their 
images  were  revered  or  served  as  fetiches  or  charms,  and  because  of 
this  they  came  to  have  a  permanent  place  in  art.  They  were  applied 
to  the  vessel  because  its  office  had  reference  to  them  or  because  they 
were  thought  to  have  a  beneficial  effect  upon  its  functions.  It  is  evi 
dent  that  their  employment  was  governed  by  well  established  rules 
and  that  they  occupied  places  and  occurred  in  numbers  and  relations 
not  wholly  dependent  upon  the  judgment  of  the  individual  potter.  We 
may  suppose  that  they  occur  in  twos  becaiise  the  handles  with  which 
they  were  associated  occurred  in  twos;  or,  if  they  serve  to  take  the 
place  of  the  extremities  of  the  animal  forms  in  the  semblance  of 
which  the  vases  were  originally  modeled,  their  positions  may  be  re 
lated  to  the  original  positions  of  the  heads  and  tails  of  those  forms. 
It  is  not  improbable  that  the  conventional  incised  and  relieved  orna 
ments,  the  meanders,  nodes,  and  varied  marks  refer  also  to  the 
creatures  or  the  markings  of  the  creatures  with  which  the  vessel  was 
associated. 

It  will  be  seen,  from  the  above  remarks,  that  we  cannot  fully  deter 
mine  to  what  extent  these  ancient  decorators  followed  the  traditional 
pathways  of  early  ideographic  usage  or  how  much  they  were  governed 
by  those  powers  of  esthetic  discrimination  known  to  us  as  taste. 

UNPA1XTK1)   WAKK. 

For  convenience  of  description   I  separate  the  pottery  of  Chiriqui 


110I.MKS.J 


TKKKA   COTTA    UKOl'l'    OF   WAKE. 


into  two  grand  divisions:  the  uupainted  ware  and  the  painted  ware. 
Two  important  groups  come  under  the  tirst  Jiead.  The  first  of  these, 
the  terra  cotta  or  biscuit  ware,  comprises  a  larger  number  of  pieces 
than  any  other  group  and  is  readily  distinguished  liy  its  colors,  which 
include  only  the  pale  grayish  yellow  and  reddish  tints  of  the  burned 
clay.  The  second  is  limited  to  a  small  number  of  pieces  and  is  black 
or  very  dark  upon  the  surface  and  dark  within  the  mass. 

Thr  terra  cotta  (jroit p. — This  biscuit-like  pottery  is  not  in  any  way 
inferior  to  the  painted  varieties.  It  bears  evidence  of  great  freedom 
in  handling,  and  serves,  perhaps  better  than  any  other  class  of  prod 
ucts,  to  illustrate  the  masterly  skill  and  the  refined  taste  of  the  an 
cient  potter.  It  is  said  to  occur  in  the  same  cemeteries  and  in  the 
same  graves  with  the  more  important  varieties  of  painted  ware.  The 
function  of  these  handsome  vessels  cannot  be  determined.  It  can 
hardly  have  been  of  a  domestic  nature,  as  they  show  no  evidences  of 
discoloration  or  wear,  and  we  are  left  to  speculate  upon  the  possibility 
of  a  purely  ceremonial  use.  The  paste  is  moderately  fine,  but  con 
tains  an  extremely  large  share  of  gritty  sand;  the  slip  is  thin  and  has 
received  but  a  slight  degree  of  polish,  so  that  the  surface  has  a  dead, 
somewhat  granular  effect.  As  a  rule  the  vases  are  of  small  size  and 
are  very  thin  walled.  The  forms  are  symmetrical  and  exceptionally 
graceful.  The  ornamentation  includes  incised  figures  (mostly  geo 
metric),  raised  decoration  (of  similar  character),  and  animal  forms  in 
the  round.  The  following  illustrations  are  intended  to  epitomize  the 
multitude  of  forms,  as  anything  like  a  complete  representation  is  out 
of  the  question. 

Bowls,  which  form  a  leading  feature  of  the  pottery  of  most  primi 
tive  peoples,  are  here  rarely  seen,  excepting  as  mounted  upon  tripods 
or  annular  bases.  There  are  in  the  collection  a  number  of  small  cups 
of  hemispherical  shape  that  may  have  served  as  spoons,  ladles,  or 
drinking  vessels.  A  few  of  these  are  outlined  in  Fig.  ?<>.  Two  have 
minute  projections  resembling  handles  affixed  to  the  rim.  In  rare 


FIG.  70.  Series  of  hmvls  and  mps  of  unpainted  ware. 

cases  these  are  so  prolonged  as  to  be  of  service  in  handling  the  cup; 
but  in  no  instance  is  there  an  approach  to  the  long  cylindrical  handles 
seen  in  the  earthenware  of  other  distiicts. 


68 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIKIO.UI. 


In  following  the  form  scale  upward  from  these  simple  shapes  we 
find  the  orifice  becoming  more  constricted  and  the  neck  more  pro- 


FIG.  71.  V 


t't'ul  form—  J. 


FIG.  72.  Vase  of  graceful  form—!. 


nounced.     The  margins  are  upright,  incurved,  or  flaring,  and  give 
variety  and  grace  to  the  outlines.     A  tendency  toward  elaboration 


FIG.  73.  Vase  of  fine  form,  ornamented  \\ith  (.'"'otesime  heads— |. 


HOI.MKH.  j 


TEKKA    COTTA    (IKOl'l'    OF    WAKE. 


of  ornament  accompanies  the  development  of  form.  Bands  of  in 
cised  or  relieved  figures  are  carried  around  the  neck,  shoulder,  and 
handles  and  are  added  in  such  a  way  as  greatly  to  enhance  the  beauty 
of  the,  vessel.  The  forms  of  these  vessels  are  so  graceful  and  the  finish 
is  so  perfect  that  one  is  tempted  to  present  an  extended  series,  but  it 
will  be  necessary  to  confine  the  illustrations  to  a  limited  number  of 
type  specimens.  Fig.  71  shows  a  somewhat  shallow  form  of  great 
simplicity  and  grace.  That  in  Fig.  72  is  deeper,  with  a  narrow  neck 
and  a  more  decidedly  conical  shape.  Two  minute  grotesque  figures  are 
perched  upon  the  shoulder.  Fig.  ?•'!  represents  a  larger  vessel  of  good 
form,  which  has  a  neat  incised  pattern  encircling  the  slightly  incurved 


Fin.  74.  Vase  of  fine  form,  ornamented  with  Krotes<me  heads      .1. 

neck.  Grotesque  heads  are  set  upon  the  shoulder.  A  form  somewhat 
more  refined  is  shown  in  Fig.  74.  The  neck  is  furnished  with  a 
relieved  ornament,  consisting  of  a  meandered  and  indented  fillet'. 


Fin.  TS.  Vase  with  ornaments  of  applied  nodes  and  fillets— i. 


70 


ANCIKNT    AKT    OF    THE    PROVINCE    OF    CHIKIori. 


accompanied  by  two  rows  of  minute  indented  nodes.  The  heads  are 
probably  intended  to  represent  the  armadillo.  They  are  hollow  and 
contain  movable  pellets.  The  fillet  ornaments  are  always  tastefully 
treated,  and  in  many  cases  represent  twisted  and  plaited  cords. 
Some  are  marked  in  herring  bone  fashion  and  others  have  trans 
verse  indentations.  Small  pellets  of  clay  were  much  iised  and  to 
excellent  advantage.  They  were  set  on  lightly  with  the  fingers  and 


Fin.  ','(>.  Vase  with  mantle  covered  with  incised  figures—  >. 

firmly  pressed  down  with  minute  pointed  or  edged  tools  and  hollow 
straws  or  reeds  (Figs.  75  and  76).     Some  of  these  nodes  are  finished 


Fir..  77.  Vase  with  frieze  of  grotesque  heads  —  £. 


to  represent  the  heads  of  animals.     This  is  done  with  an  ease  and 
a  simplicity  that  call  forth  our  admiration  (Fig.  77). 

Fig.  7«  illustrates  a  series  of  vases  having  flaring  rims,  the  treat- 


IIOI.MKS.  I 


TKKRA    COTTA    (iKOTl'    OK    \VARK. 


71 


inent  otherwise  being  uniform  with  the  preceding.  We  notice  in 
these  vessels. a  decided  tendency  towards  complexity  of  outline. 
Three  examples,  shown  in  Fig.  ?!).  have  a  two  storied  character,  tin- 


Flo.  7ft.  Vases  with  flaring  rims  and  varied  ornament      ?,. 

upper  part  possibly  being  the  outgrowth  of  the  collar  ornament  seen 
in  so  many  cases.     The  large  specimen  in  the  center  is  a  handsome 


Fie.  ~'.l.  Vases  with  complex  outlines  anil  varied 


piece  with  square  offset  at  the  shoulder  and  a  decidedly  conical  base. 
A  chaste  ornament  in  relief  encircles  the  neck  and  two  grotesque  fig 
ures  are  seated  upon  opposite  sides  of  the  shoulder.  The  vase  at  the 
left  has  two  orifices,  set  wide  apart.  The  body  is  oblong  and  slightly 
flattened  above.  There  are  a  number  of  vessels  of  this  conformation 
in  the  collection,  some  of  which  have  the  mouths  so  close  together 
that  the  margins  or  lips  coalesce  in  part.  A  superb  specimen  of  this 
class  is  illustrated  in  Fig.  80.  The  shape  is  thoroughly  satisfactory 
to  the  eye.  having  a  refinement  of  line  rarely  attained  in  native 
American  work.  Its  symmetry  suggests  the  use  of  the  wheel,  but 
the  closest  examination  fails  to  detect  a  trace  of  mechanical  appli 
ance,  save  that  left  by  the  polishing  stone.  The  decoration  is  simple 
and  effective,  consisting  of  minute  nodes  with  annular  indentations 
aboiit  the  necks  and  of  two  grotesque  figures,  placed  with  consum 
mate  taste  in  the  angles  formed  by  the  contact  of  the  two  necks. 
A  very  small  percentage  of  these  vessels  possess  true  handles,  but 


72 


ANCIENT    ART   OF    THE    PROVINCE    OF    CHIRIQUI. 


these,  in  some  of  the  examples,  are  worthy  of  high  admiration.    The 
specimen  presented  in  Fig-  SI  attracts  attention  at  once  on  account 


FIG.  Hli.  Large  vase  with  two  mouths  and  neatly  decorated  neeks —  i. 

of  its  resemblance  to  well  known  classic  forms.     It  is  evident,  from 
a  study  of  this  piece,  that  only  a  step  more  was  necessary  to  place 


Flo.  Kl.  I^arge  vase  with  hifjh  handles—  £. 


TERRA    COTTA    GKOl'l'    OK    WARE. 


7.H 


tliese  potters  alongside  of  the  highest  masters  of  the  art.  The  sharp 
high  elbow  and  the  broadening  of  the  handles  at  their  junction  with 
the  lip  are  notable  features.  The  latter  is  shown  more  satisfactorily 
in  Fig.  S<J.  which  is  a  top  view  of  a  companion  piece.  I  wish  to  call 


Km.  Si  Top  view  of  high  handled  vase     i. 

attention  here  to  a  peculiar  feature  of  these  handles  and  one  repeated 
in  vessels  of  other  classes.  At  the  elbow  of  each  handle  we  find  a 
device  in  relief  marked  with  herring  bone  indentations  that  would 
seem  to  represent  a  kind  of  textile  attachment,  as  if.  at  some  previous 
time  and  perhaps  in  an  antecedent  form  of  vessel,  the  upright  and 
horizontal  parts  of  the  handles  had  been  stitched  or  tied  together  at 
this  point.  Yet  it  is  by  no  means  certain  that  this  feature  is  not  the 
survival  of  some  feature  of  an  animal  form  into  the  semblance  of 


FIG. 


Examples  of  handled  vases  —  |.  - 


FIG.  85. 


74 


ANCIENT    AKT    OF    THE    PROVINCE    OF    CHIKIyUI. 


which,  as  seen  in  other  examples,  this  feature  has  a  tendency  to 
graduate. 

These  vessels  are  not  numerous,  but  acqiiire  importance  from  their 
large  size,  the  larger  being  upwards  of  eight  inches  in  height.  A  few 
pieces  of  nearly  identical  shape,  but  of  small  size,  are  found  among 
the  painted  wares.  Additional  shapes  are  given  in  Figs.  83,  84,  and 
HO,  and  serve  to  illustrate  the  extent  of  variation  exhibited  in  this 
group  of  vases.  The  small  shallow  piece  is  exceptionally  fine  and  the 
handles  are  furnished  with  animal  features  of  a  highly  conventional 
type.  An  expansion  of  the  handles  somewhat  similar  to  this  is  fre 
quently  seen  in  vessels  of  other  classes,  especially  in  those  of  the 
handled  group. 

Single  handles  of  like  character  occur  in  a  number  of  cases  upon 
minute  cups,  an  example  of  which  is  given  in  Fig.  80.  It  would 
seem  that  possibly  in  such  cases  the  rim  had  been  expanded  and  pro 
longed  for  the  purpose  of  giving  support  to  the  animal  figures  with 


Fro.  86.  FIG.  ST. 

Small  t-'ii])  \vith  single  handle  ornamented  with  grotesque  figure  —  j. 

which  the  shoulders  were  embellished.  The  expansion  is  probably 
the  outgrowth  of  the  iise  of  animal  figures  in  connection  with  simple 
handles, 


FIG.  88.  Vase  of  eccentric  form  —  }. 

We  have  a  number  of  vessels  of  this  group  the  bodies  of  which 
imitate  animal  forms,  but  thev  are  in  nearly  all  cases  furnished  with 


Hounta.J 


TKHKA    COTTA    (iKOI'l1    OK    \VAKK. 


75 


legs.  Rarely  \ve  meet  with  compound  or  eccentric  forms.  An  inter 
esting  specimen  of  the  latter  class  is  seen  in  Fig.  88.  Such  shapes  are 
common  in  Peru  and  are  occasionally  met  with  in  Central  America. 
The  two  strong  handles  are  decorated  with  minute  images  of  birds 
and  the  bottom  is  concave,  an  exceptional  character  in  Chiriquian 
work. 

The  illustration  of  this  group  of  vessels  would  not  be  complete  with 
out  a  series  of  tripod  vases.  In  shape  of  body  these  vases  differ  but 
little  from  the  legless  forms  already  given,  excepting  where  the  use 
of  life  forms  lias  led  to  eccentric  modifications.  Very  great  interest 
attaches  to  the  modeling  of  the  tripod  supports,  upon  which  the  pot 
ters  have  expended  much  time  and  ingenuity. 

The  illustrations  given  herewith  are  chosen  from  a  great  number 
of  examples  and  are  intended  to  convey  an  idea  of  the  range  of  forms, 
both  of  the  vessels  and  of  their  supports.  Figs.  8!l  and  !t()  show  plain 
forms  of  legs,  all  of  which  are  hollow  and  contain  small  pellets  of  clay. 
The  openings  are  generally  wide  vertical  slits,  and  are  placed  in  front, 
as  seen  in  Fig.  89,  or  in  the  side,  as  in  Fig.  !)0;  but  in  exceptional 


FlO.  8!).  Flo.  OU. 

Vessels  illustrating  foi  ins  of  legs —  j. 


FIG.  in. 

Vessel  with  large  legs  orna 
mented  with  stellar  i>nm-t- 
ures  —  3. 


cases  they  take  other  shapes  and  are  scattered  over  the  surface,  as 
seen  in  Fig.  !i  1 .  The  legs  are  often  remarkable  in  form,  being  swollen 
to  an  enormous  size  above  and  terminating  in  small  rounded  points 


Fin.  92.  Vases  of  varieo  form  with  plain  anc1  with  animal  shajM'd  legs  —  \. 


7« 


ANCIENT    AKT    OK    THE    PROVINCE    OF    CHIRIQUI. 


below.  The  bowls  are  symmetrically  shaped  and  graceful  in  outline. 
In  Fig.  92  I  present  a  group  illustrating  some  of  the  more  eccentric 
forms  of  bowls  and  a  variety  of  their  supports.  A  very  superior 
piece  and  one  of  the  largest  of  this  style  is  shown  in  Fig.  93. 


Fio.  !M. 


vase  of  striking  shape  —  .1. 


It  will  be  seen  that  in  a  number  of  cases  the  legs  are  modeled  to 
represent  animal  forms.  This  feature  is  brought  out  more  clearly  in 
succeeding  figures.  The  creatures  represented  are  often  grotesque,  as 


Fio.  04.  Cup  with  legR  imitating  animal  forms.  — 


seen  in  Figs.  94  and  !»5.  The  human  form  is  rarely  shown  in  a  way 
to  make  it  clearly  distinguishable  from  the  figures  of  monkeys  and 
other  animals.  The  armadillo  is  a  favorite  subject.  An  example  of 


HOLMES.  | 


TKKKA    I'OTTA    OKOl'P    <>K    \VAKK. 


77 


sniiill  dimensions  is  illustrated  in  Fig.  !»<>.  in  which  this  animal  is 
given  in  characteristic  style,  and  a  more  pretentious  piece  is  shown 
in  Fig.  !»?.  The  characteristics  of  the  creature  are  very  simply  but 
graphically  expressed.  In  the  first  the  hard  ribbed  and  figured  case 
is  represented  by  applied  fillets  and  nodes,  and  in  the  other  by  incised 


FlO. 


Cup  with  Iftfs  imitating  a  gntm]U6  Animal 
form  -  A. 


FIG.  %.  FIG.  f<. 

Cups  with  IPRS  imitating  the  armadillo 


lines.  The  frog  is  also  much  used  (Fig.  !)8).  A  rather  remarkable 
conception  is  illustrated  in  Fig.  ii'.i.  Upon  the  front  of  each  leg  is  a 
curuyus  little  animal-like  figure,  to  the  front  of  which  are  bound  two 
minute  infantile  creatures.  In  the  piece  presented  in  Fig.  100.  the 


FIG.  its.  Cup  with  fropr  shaped  leps —  \. 


FIG.  !i*.i.  Cup  with  let^s  imitating  an  ani 
mal  and  its  young—  j. 


FIG.  11)1).  flip  supported  hy  proteaque  licads  — 


7,S  ANCIENT    AKT    OK    THE    1'KOVINCE    OF    ClHKIUl'l. 

legs  are  grotesque  heads,  inverted,  with  wide  open  mouths  and  glar 
ing  eyes.     The  work  upon  this  vase  is  very  superior. 

The  remarkable  specimen  illustrated  in  Fig.  101  is  furnished 
with  unique  supports.  Two  rudely  modeled,  semihuman.  grotesque 
figxires  are  affixed  to  the  under  surface  of  the  bowl,  supporting  it 
with  their  backs. 


FIG.  101. 


figures  —  J. 


The  legs  of  these  figures  are  spread  out  horizontally,  so  that  a  firm 
support  is  obtained.  The  periphery  of  the  body  of  this  vessel  is  en 
circled  by  a  number  of  nodes  and  noded  projections,  which  I'epresent 
the  heads,  tails,  and  spines  of  two  crab-like  animals.  The  heads, 
with  arms  attached,  appear  at  the  right  and  left,  and  the  tails  occur 
at  the  front  and  back  just  over  the  heads  of  the  supporting  figures. 
The  use  of  the  crab  in  this  way  is  quite  common.  Fish,  birds,  and 
a  variety  of  quadrupeds  are  similarly  treated.  Some  very  interesting 


Fift.  10*^.  (.'up  with  two  animal  heads  attached  to  the  sides  —  J 


Fit;,  in:}.  Cup  with  two  animal  heads  attached  to  the  sides  —  J. 

examples  of  double  headed  animal  vases  are  found.     Two  of  these  are 
outlined  in  Figs.  102  and  103,  the  first  having  a  single  orifice  and  the 


TKKKA    fUTTA    (JKOl   I'    <>K    \VAKK. 


71) 


second  ;i  pair  of  orifices.     In  many  cases  the  bowl  of  the  vessel  is 
considerably  modified,  to  give  a  more  decided  resemblance  to  the 


(•"HI.  nvi.  Vase  Imitating  an  animal  form— 4. 


M.  IOT>.  Vast-  Imnatiug  an  animal  form 


Fir,.  !<»;.  Vase  shaiiwl  to  imitate  an  animal  form-    ',. 


body  of  the  creature.    This  is  well  shown  in  Figs.  1(M-10<;      The  first 
is  probably  intended  for  a  bird:  the  second  resembles  an  armadillo; 


FIG.  107.  Fish  shaped  vessel  —  J. 


and  the  third  portrays  a  creature  with  ears  and  three  horns.     The 
oblong  vessel   shown  in   Fig.    KC  is  modeled  after   a   curious   fish. 


80 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRiyfl. 


to  which  the  Chiriquians  seem  to  have  attached  considerable  im 
portance.  It  is  represented  with  a  wide  mouth  displaying  teeth,  two 
spines  or  horns  upon  the  end  of  the  snout,  and  fins  upon  the  back 
and  sides.  Fig.  108  gives  the  top  view  of  another  fish  vase,  which  is 
supported,  as  are  the  others,  by  three  legs.  The  body  is  flat  and  is 
encircled  bv  well  modeled  tins.  The  head  is  rather  flat  and  has i  the 


FIG.  108.  Top  view  of  a  fish  shaped  vessel     J. 

eyes  and  nose  on  the  upper  surface.  I  close  this  series  of  illustra 
tions  with  an  outline  of  a  fine  vase  (Fig.  109)  the  rim  of  which  is  deco 
rated  with  a  single  head  of  extremely  grotesque  and  repulsive  char 
acter. 


Fio.  109.  Clip  with  grotesque  hear)  attached  to  (he  rim—  4. 

Black  incised  group. — This  pottery,  although  closely  related  to  the 
other  varieties  in  its  leading  features,  presents  differences  of  a  pro 
nounced  character.  The  number  of  specimens  recovered  is  rather 
small.  The  largest  piece  has  a  capacity  of  perhaps  a  quart.  Some 
of  the  forms  are  identical  with  those  of  other  groups,  but  a  few  are 
peculiar  to  this  ware.  The  color  is  black,  brown,  or  dark  gray,  and 
in  most  cases  the  entire  mass  is  quite  dark.  The  decoration  is  exe 
cuted  in  two  somewhat  distinct  styles:  in  one  the  lines  were  scratched 
or  engraved  subsequently  to  the  hardening  of  the  clay:  in  the  other 


III.  \TK     I.VCISKI)    (iKOI    I-    OF    \\  AKE. 


81 


they  were  deeply  engraved  witli  ;i  sharp  point  while  the  clay  was  still 
moist.  The  lines  are  usually  very  deep  and  are  filled  with  a  white 
substance  which  renders  the  pattern  distinctly  visible  upon  the  sur 
face.  It  seems  probable  that  the  lines  were  engraved  deeply  with  the 
intention  of  producing  this  effect.  Type  specimens  are  shown  in  Figs. 
110  and  111.  They  are  small  globular  bottles,  with  short  necks  and 
wide  apertures  and  with  handles  placed  at  opposite  sides  of  the  lip, 
which  is  prolonged  to  meet  them.  The  design  covers  a  large  part  of 
the  body  and  is  separated  into  two  parts  by  the  handles  and  the  un- 
decorated  panels  that  descend  from  them.  The  figures  appear  to  be 


FIG.  110.  FIG.  ill. 

Black  cups  with  incised  reptilian  figures—  J. 

very  highly  conventionalized  animal  forms,  probably  serpents.  The 
coiled  ends  of  the  ribbon-like  dotted  bands  are  evidently  meant  to  sug 
gest  the  heads  of  reptiles.  The  figures  assume  a  variety  of  shapes  and 


FIG.  112.  Black  vase  with 


ill  incised  pattern  —  j. 


grade  by  degrees  from  the  recognizable  life  forms  into  purely  geomet 
ric  patterns.     Examples  of  the  latter  style  are  given  in  Figs.  112  and 

6  ETH 6 


8-2 


ANCIENT   ART   OF   THE   PROVINCE   OF   CH1R1QUI. 


1 1:>.     The  motives  employed,  although  so  conventionally  treated,  are 
pretty  certainly  identical  in  origin  with  the  preceding. 

There  are  a  number  of  tripods  in  this  group,  some  of  which  have 
the  deeply  incised  ornaments  and  others  the  shallow  ones.  The  shapes 
vary  greatly,  a  few  examples  being  decidedly  Costa  Rican  in  type. 


V 


FIG.  113.  Small  cup  with  conventional  incised  FlG-  "4-  Small  tripod  cup  with  upright  walls 

patterns  —  i.  and  legs  imitating  animal  heads—  J. 

Pieces  with  round  bodies  have  conical  legs,  like  much  of  the  Chiri- 
quian  ware,  but  those  with  shallow  basins  and  angular,  incurved, 
upright,  or  flaring  rims  have  the  Costa  Rican  tripod.  Figs.  114  and 
115  may  serve  to  illustrate  this  variety.  The  first  is  a  cup,  with 


Fin.  115.  Vase  with  flaring  rim  and  legs,  imitating  animal  heads  — J. 

upright  sides  and  thick  rim.  having  an  incised  geometric  pattern. 
The  second  is  much  more  striking  in  appearance.  The  surface  color 
is  brownish  gray  in  hue  and  the  simple  geometric  design  was  scratched 
through  into  the  lighter  color  beneath  after  the  clay  hardened.  The 
legs  represent  the  heads  of  animals  conventionally  treated  and  arc 
hollow,  containing  movable  pellets.  This  specimen  is  from  latitude 
S°  42'  north,  longitude  82°  52'  west.  Others  of  this  class  come  from 
different  parts  of  the  province. 

To  this  class  belongs  also  a  small  dark  vase  of  peculiar  shape  and 
interesting  decoration,  which  is  illustrated  in  Fig.  110.  The  neck  is 
large  and  the  lip  widely  flaring,  and  the  body  is  modeled  in  imitation 


BLACK    INCISED    GKOCI'    OK    WAKE. 


83 


of  tin-  head  of  some  animal,  possibly  a  peccary.  The  side  represent 
ing  the  face  is  prolonged,  giving  an  iinsynimetric  profile,  as  seen  in 
the  second  figure.  The  eyes  are  set  midway  between  the  ears  (which 


Vase  modeled  to  resemble  thr  lira 


are  placed  at  the  sides)  and  the  nostrils,  and  are  inclosed  by  curious  en. 
graved  figures,  probably  suggested  by  the  markings  of  the  animal 
portrayed.  An  arched  ridge,  representing  the  brows,  connects  (lie 
bridge  of  the  nose  with  the  ears.  The  most  novel  feature  of  this 
piece  is  the  band  of  incised  ornament  that  crosses  the  back  of  the 


iiliilll  I 


Flo.  117.  Pattern  upon  the  back  of  the  vase  presented  in  Fi^.  110. 

head  and  serves  probably  to  carry  out  the  idea  of  the  complete  creat 
ure.  As  will  be  seen  by  reference  to  the  figure,  it  is  a  guilloche-like 
interlacing  of  fillets,  bordered  and  apparently  held  in  place  by  longi 
tudinal  bands,  beyond  which  the  angles  of  the  ornament  project.  The 
pattern  is  a  modified  form  of  one  commonly  seen  upon  the  margins 
of  the  larger  stone  metates,  and,  although  rarely  met  with  in  the  pot 
tery  of  Chiriqui,  was  a  favorite  motive  with  the  potters  of  Costa 
Rica.  This  vessel  comes  from  30  miles  north-northwest  of  David. 

The  unpainted  wares  here  so  briefly  described  are  typically  Chiri- 
quian.  and  are  closely  associated  in  the  graves  with  most  of  the  lead 
ing  groups  of  art  products  of  the  province.  It  must  be  allowed  that 


84  ANCIENT   ART   OF   THE   PROVINCE    OP   CHIRIQUI. 

they  take  first  rank  in  the  isthmian  states,  if  not  in  America,  for  sim 
plicity  and  refinement  of  form,  perfection  of  method,  and  purity  of 

style. 

PAINTED   WARE. 

The  painted  vases  of  Chiriqui  embrace  at  least  ten  easily  distin 
guished  varieties  of  ware.  The  characters  upon  which  the  classifica 
tion  is  based  are  somewhat  heterogeneous  and  include  material,  color, 
shape,  finish,  ornamentation,  method  of  manufacture,  and  evidences 
of  use.  No  single  character  and  no  one  group  of  characters  can  be 
relied  upon  to  distinguish  the  different  groups.  We  must  depend, 
therefore,  upon  an  assemblage  of  characters  or  upon  one  character 
in  one  place  and  another  in  another  place.  Observing  a  number  of 
striking  differences  in  two  groups  of  ware,  we  arrive  at  the  conclu 
sion  that  these  groups  must  have  been  the  work  of  distinct  communi 
ties;  yet  we  find  very  marked  differences  in  wares  that  (through  the 
possession  in  common  of  some  particular  feature)  we  know  to  be  the 
work  of  the  same  hands.  We  can,  therefore,  determine  little  in  re 
gard  to  the  peoples  concerned. 

I  do  not  consider  the  presence  in  a  single  grave  of  two  or  more 
varieties  sufficient  proof  of  their  common  origin,  for  a  number  of  dis 
tinct  wares  may  come  into  the  possession  of  one  community  through 
trade,  conquest,  or  the  spoliation  of  tombs ;  but  a  constant  recurrence 
together  of  the  same  forms  affords  strong  evidence  that  the  objects 
were  the  work  of  the  people  with  whom  they  were  buried.  Unfortu 
nately  our  observations  in  the  field  are  not  sufficiently  accurate  to 
enable  us  to  utilize  associations  or  methods  of  occurrence  in  the  graves 
as  a  means  of  classification. 

The  following  classification  is,  under  the  circumstances,  the  best 
that  I  can  devise,  and  is  of  use  mainly  as  a  means  of  facilitating  de 
scription.  The  name  chosen  generally  indicates  a  leading  or  striking 
characteristic  of  the  group. 

The  scarified  group,  separated  widely  from  all  other  varieties. 

The  handled  group  and 

The  tripod  group,  apparently  the  work  of  one  community  and  de 
voted  to  the  same  or  similar  uses. 

The  maroon  group; 

The  red  line  group; 

The  white  line  group; 

The  lost  color  group; 

The  alligator  group;  and 

The  poll/chrome  group,  no  two  of  which  are  sufficiently  alike  to 
make  it  certain,  without  extraneous  evidence,  that  they  were  manu 
factured  by  the  same  community,  yet  all  clearly  belonging  to  one 
great  family. 

These  groups  are  presented  in  the  order  given. 


HOLMES.]  PAINTED   WARE.  85 

Before  proceeding  with  the  descriptions,  however,  there  are  some 
matters  of  a  general  nature  that  should  be  referred  to.  Technical 
questions  have  already  received  considerable  attention,  and  I  shall 
need  only  to  refer  here  to  the  painted  ornamentation,  and  at  sufficient 
length  to  insure  a  clear  understanding  of  its  treatment  and  the  scope 
of  its  subject  matter. 

Painted  vessels  are  embellished  to  some  extent  also  by  incising  and 
modeling,  and  these  methods  are  employed  very  much  as  in  the  un- 
paiuted  pottery  already  described. 

Painted  decoration  is  executed  with  much  freedom  and  in  many 
cases  with  considerable  skill.  It  is  greatly  varied  in  method  of  treat 
ment  and  embraces  a  wide  range  of  motives.  Geometric  patterns 
occur  in  great  variety,  but  are  found  to  be  of  types  peculiar  to  Isth 
mian  America.  The  conventional  meanders,  frets,  and  scrolls  so 
extensively  employed  in  other  regions  are  here  almost  unknown. 
Decorative  motives  derived  from  natural  forms  are  abundant  and 
afford  an  excellent  opportunity  to  study  the  processes  of  conventional 
modification.  These  designs  are  often  applied  in  a  way  to  indicate 
that  the  decorator  possessed  a  keen  sense  of  the  requirements  of  the 
vessel,  although  the  treatment  perhaps  is  not  as  universally  satisfac 
tory  as  is  the  treatment  of  plastic  embellishment. 

The  potter,  in  preparing  the  vessel  for  the  decorator,  ordinarily 
finished  it  with  a  slip  or  wash  of  fine  clay,  which  varied  in  hue  from 
a  gray  white  to  a  pale  orange.  A  slip  of  bright  red  tint  was  also  ex 
tensively  used.  The  more  delicate  hues  formed  an  excellent  ground 
upon  which  to  work.  The  slip  covered  surface  was  generally  pol 
ished,  often  to  a  high  degree,  with  the  usual  polishing  implements, 
the  marks  of  which  can  be  seen  upon  the  less  carefully  finished  sur 
faces.  By  observers  unacquainted  with  aboriginal  methods  this  pol 
ish  is  liable  to  be  taken  for  a  glaze,  and  it  has  been  pronounced  a  vit 
reous  glaze  by  a  few  writers.  It  is  more  noticeable  upon  specimens 
that  have  been  handled  a  great  deal,  as  is  the  case  with  whistles, 
needlecases,  and  the  like. 

The  colors  utilized  in  decoration,  so  far  as  they  have  been  preserved, 
are  the  ground  tints,  described  above,  and  the  delineating  colors,  the 
latter  consisting  of  black,  white,  red  in  various  hues,  and  a  dull  pur 
ple.  An  additional  color  (or  perhaps  a  solution  without  particular 
color)  extensively  employed  in  the  designs  has  totally  disappeared. 
The  nature  of  the  various  colors  has  not  been  determined,  but  it  is 
probable  that  some  were  of  mineral  and  others  of  vegetal  origin. 

Red  was  often  employed  as  a  ground  color,  as  stated  above,  and 
sometimes  covered  the  whole  surface,  but  more  frequently  occupied 
zones  or  panels.  In  such  use  it  was  applied  and  polished  down  with 
the  slip.  Red  was  also  extensively  used  in  the  delineation  of  decora 
tive  figures  in  several  of  the  groups  of  ware,  and  is  in  all  cases  a  per 
manent  color.  The  hues  vary  decidedly  with  the  groups  of  products, 


8fi  AXCIEXT    ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

suggesting  differences  in  people  or  in  environment.  White  may  have 
been  freely  used,  hut  it  is  preserved  in  a  few  cases  only,  in  which  it  was 
used  in  the  production  of  simple  decorative  patterns,  and  appears  to 
have  been  a  somewhat  thick  or  pasty  color.  Black  was  extensively 
used  and  was  of  two  distinct  kinds:  a  thick  permanent  pigment,  em 
ployed  in  the  delineation  of  designs,  and  a  thin  color,  not  so  permanent 
and  employed  exclusively  as  a  ground  upon  which  to  execute  designs 
in  other  mediums.  The  latter  may  possibly  be  of  vegetal  derivation. 
Its  use  was  confined  to  a  single  variety  of  ware,  the  lost  color  grotip. 
The  former  was  employed  in  all  the  other  groups,  with  one  exception, 
the  red  line  group. 

The  light  purple  tint  is  but  sparingly  used  and  only  in  the  poly^ 
chrome  group.  It  is  very  effective  in  combination  with  the  reds  and 
blacks  upon  the  orange  ground  of  this  ware.  It  is  probably  of  a 
mineral  nature. 

What  I  have  denominated  the  lost  color  was  a  pigment,  or  "  taking 
out"  solution,  extensively  and  exclusively  employed  in  the  decoration 
of  one  of  the  principal  groups  of  ware.  Its  former  existence  is  made 
known  by  its  action  upon  the  ground  colors  and  upon  the  paste  or  slip 
within  the  areas  covered  by  it.  Where  superimposed  upon  black,  that 
color  has  in  all  cases  been  removed,  exposing  the  underlying  tints  of 
the  slip  in  which  the  designs  are  now  manifested,  the  interspaces  being 
still  black.  In  some  cases  the  lost  color  has  not  only  removed  the 
black  ground,  but  has  affected  the  slip  beneath,  removing  it  also,  and 
to  such  a  degree  that  the  polished  surface  is  destroyed  and  shallow 
intaglio  lines  occur,  leaving  the  interspaces  in  relief.  This  circum 
stance  enforces  the  idea  that  possibly  the  "lost  color"  was  really 
not  a  color  at  all,  but  an  acid  which  acted  upon  the  ground  colors  at 
once,  destroying  the  black  entirely  and  leaving  the  effect  now  seen. 
This  point  must  remain  for  the  present  undetermined. 

The  figures  in  all  cases  appear  to  have  been  delineated  with  ordi 
nary  brushes  and  by  purely  free  hand  methods.  The  degree  of  skill 
varies  greatly.  The  execution  in  the  great  body  of  the  work  is  rather 
inferior  and  indicates  a  lack  of  skill  and  care,  but  in  a  limited  num 
ber  of  pieces  the  manipulation  is  masterly. 

The  designs  are  confined  to  the  show  spaces,  being  exterior  in 
narrow  necked  vessels  and  generally  interior  in  shallow  forms. 

In  arrangement  upon  the  surfaces  this  decoration  presents  some 
novel  features.  The  slight  degree  of  iiniformity  in  arrangement  in 
dicates  the  absence  of  any  mechanical  aid,  such  as  the  wheel,  which 
device  would  tend  to  reduce  all  decoration  to  a  series  of  horizontal 
zones.  We  observe  indeed  the  occurrence  of  horizontal  arrangements, 
but  not  to  a  degree  greater  than  would  naturally  arise  as  a  result  of 
the  conformation  of  the  vessel.  Upright,  oblique,  and  arched  arrange 
ments  are  frequently  met  with,  and  all  are  safely  attributable  to  the 
domination  of  spaces  to  be  covered  or  to  the  influence  of  antecedent 


SCARIFIED   GROUP   OK   WARE. 


87 


shapes.  Examples  and  details  are  given  as  they  come  up  in  the  various 
sections. 

The  scarified  group.—  This  group  is  represented  by  about  forty 
specimens  and  is  worthy  of  especial  attention.  It  comes  from  the 
graves  of  two  localities,  one  near  C.  E.  Taylor's  hacienda,  north  of 
David,  on  the  slopes  of  Mount  Chiriqui,  and  the  other  at  Alanje,  south 
west  of  David.  As  a  variety  of  ware  it  stands  so  entirely  alone  that 
had  it  arrived  unlabeled  no  one  would  have  recognized  its  affinities 
with  Chiriquian  art.  It  is  rather  inferior  in  material,  grace  of  form, 
and  surface  finish,  and  the  decoration  appears  to  belong  to  a  lower 
grade  of  culture  than  that  of  the  other  groups.  It  is  possibly  the 
work  of  an  inferior  race  in  comparatively  recent  times. 

Nearly  all  the  vessels  are  tripods,  but  a  few  have  rounded  or  flat 
bottoms  and  a  few  are  supplied  with  annular  stands.  The  walls  are 
thick  and  the  shapes  are  uncouth  or  clumsy.  The  paste  is  coarse, 
poorly  baked,  and  friable;  near  the  surface  it  is  a  warm  reddish  or 
yellowish  gray;  within  the  mass  it  is  a  dark  gray. 

The  makers  of  this  pottery,  like  their  brother  artificers,  took  especial 
pleasure  in  the  modeling  of  life  forms.  The  work  exhibited  in  these 
specimens  is,  however,  exceptionally  rude.  In  some  cases  grotesque 
heads  are  attached  to  the  rims  of  bowls;  in  others  the  head,  tail,  and 


FIG.  11H.  Tripod  bowl  of  red  scarified  ware 


Fio.  11!).  Tripod  bowl  of  ml  scarified  ware  — J. 


88  ANCIEN7T   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

feet  of  animals  appear  about  the  periphery  of  the  vase;  and  in  a 
number  of  cases  the  legs  of  the  tripods  are  modeled  to  represent  the 
forms  of  living  creatures.  Generally  the  feet  are  clumsy  in  shape 
and  three  toed,  suggesting  the  feet  of  the  tapir. 

These  vessels  are  embellished  by  painting,  incising,  or  scarifying 
and  by  modeling  in  relief.  Color  was  not  employed  in  the  produc 
tion  of  designs,  but  a  dark  Indian  red  pigment  was  daubed  over  that 
part  of  the  surface  not  occupied  by  incised  ornament.  Little  or  no 
slip  was  used  and  the  rude  geometric  patterns  were  executed  with 
pointed  tools  in  a  very  hap-hazard  manner. 

The  bowls  are  more  numerous  than  in  any  other  group  of  the  Chiri- 
quian  ware,  but,  as  in  the  other  groups,  they  are  supplied  with  sup- 


FIG.  120.  Oblong  basin  with  scarified  design  —  J. 


Fin.  121.  Large  bowl  with  handles  imitating  animal  heads— J. 


ports,  either  tripods,  shaped  like  the  feet  of  quadrupeds,  or  rude  annu 
lar  bases.  In  most  cases  the  rim  expands  gradually  from  below,  as 
seen  in  Fig.  1 1 8,  or  is  recurved,  as  shown  in  Fig.  119.  In  a  few  cases 
the  basin  is  oblong  or  boat  shaped  and  the  ends  are  pointed,  as  indi 
cated  in  Fig.  120. 


SCARIFIED   GROUP   OF   WARE. 


89 


An  interesting  specimen  is  illustrated  in  Fig.  121.  At  the  opposite 
ends  of  the  bowl  portions  of  the  rim  are  carried  upward  ami  inward, 
forming  handle-like  appendages,  modeled  to  represent,  rudely,  the 
heads  of  animals.  Details  of  form  and  ornament  are  well  brought 
out  in  the  cut. 

In  Fig.  122  we  have  a  high  cylindrical  shape  with  a  flat  bottom,  the 
surface  being  scarified  in  vertical  bands.  A  small  pot,  having  an 
annular  base  and  decoration  similar  to  the  preceding,  is  given  in  Fig. 
123.  In  Fig.  1 24,  instead  of  the  vertical  lines,  we  have  a  series  of 
heavy  ribs.  Two  strong  vertically  placed  loops  are  fixed  upon  oppo 
site  sides  of  the  shoulder  and  the  base  is  supplied  with  the  usual 

fret. 


Fin.  133.  Jar  with  flat  bottom  and  vertical  bands  of  incised  ornament— J. 

The  tripods  shown  in  Figs.  1 25  and  12(5  are  somewhat  mutilated,  but 
they  present  features  of  interest  in  the  novel  shapes  and  the  unique 


Flo.  133.  Vase  with  stand  and  vertical  in 
cised  bands-  }. 


Fm.  13-1.  Vase  with  handles,  legs,  and  verti 
cal  ribs— i. 


90 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


animal  forms  with  which  the  legs  are  embellished.     Each  leg  is  rep 
resented  as  a  complete  animal,  whose  back  or  breast  supports  the  ves- 


FIG.  li').  Tripoli  with  owl-like  heads  at  inser 
tion  of  legs  -  :\. 


FIG.  12(>.  Tripoli  with  le#s  rudely 
animal  forms—  J. 


sel  and  whose  cylindrical  nether  extremity  rests  upon  the  ground. 
The  head  in  the  first  example  resembles  an  owl  and  in  the  second 
reminds  one  of  some  crustacean  form.  An  additional  specimen  of 


Flo.  127.  Heavy  red  vase  with  four  mouths  — 


considerable  interest  is  shown  in  Fig.  127.  It  is  a  heavy  tripod,  hav 
ing  four  independent  mouths,  all  opening  into  one  chamber.  The 
shape  is  unsatisfactory,  being  heavy  and  uiisymmetrical.  The  exte 
rior  surface  has  the  usual  scarified  figures  and  the  interspaces  and 
the  entire  inner  surface  of  the  vessel  are  painted  red  and  rather  care 
fully  polished. 

The  handled  group.  —  The  series  of  vessels  to  which  this  name  is 
given  comprises  a  large  number  of  pieces  of  unusually  even  characters. 


HOLMES.]  HANDLED  GROUP   OF   WARE.  91 

They  are  obtained  from  a  pretty  wide  district  to  the  north  and  west 
of  David  and  occur  in  connection  witli  other  groups.  They  are  nota 
ble  for  uniformity  in  size,  shape,  and  finish  and  for  the  unmistaka 
ble  evidences  of  use  over  fire  which  at  least  three-fourths  of  them 
show.  With  the  exception  of  a  few  large  caldrons,  not  yet  assigned 
to  a  particular  group,  they  are  more  like  ordinary  cooking  vessels 
than  any  other  group  of  Chiriquian  ware.  The  size,  however,  is  re 
markably  small,  the  average  capacity  being  about  a  pint.  Larger 
pieces  contain  a  quart  or  three  pints. 

The  body  is  usually  much  compressed  vertically  and  is  flattish 
above  and  more  or  less  conical  below,  giving  a  very  graceful  contour. 
The  surface  is  rather  rudely  polished  and  the  painting  is  done  with 
notable  carelessness,  as  if  the  intended  use  were  not  favorable  to  the 
preservation  of  the  ornament.  By  means  of  a  heavy  brush,  red 
figures,  consisting  of  splotches,  stripes,  arches,  and  encircling  bands, 
were  applied  to  the  yellowish  gray  surface  and  sometimes,  as  indi. 
rated  by  a  smeared  appearance,  were  polished  down  with  an  imple 
ment.  It  does  not  seem  that  a  slip  of  ordinary  white  clay  was  very 
generally  used.  In  a  few  cases  a  grayish  blue  tint  appears  upon 
some  of  the  wider  spaces. 

The  handles  are  perhaps  the  most  notable  feature  of  this  ware,  and 
usually  occur  two  to  a  vessel;  rarely  there  is  but  one  handle  and  in  a 
few  cases  there  are  four.  This  group  may  lie  separated  into  at  least 
four  sections  by  the  styles  of  handles.  Vessels  of  the  two  more  impor 
tant  sections  have  two  handles  each,  which  are  placed  vertically  in 
one  variety  and  horizontally  in  the  other,  reference  being  had  to  the 
position  of  the  points  of  attachment.  These  differences  of  position 
have  given  rise  to  a  marked  difference  in  the  shape  of  the  orifice  and 


Fio.  128.  Vase  with  horizontally  placed  handles  anil  rude  designs  in  red  —  J . 

of  the  lip.  The  handle  is  a  simple  loop,  which  in  the  one  variety  is  placed 
as  seen  in  Fig.  128  and  in  the  other  as  in  Fig.  Kte.  In  the  latter 
case  one  end  of  the  loop  is  fixed  to  the  shoulder  and  the  other  end 


92  ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 

to  the  lip,  which  is  uniformly  prolonged  at  the  contact  and  is  also 
widened  all  around  ;  the  result  is  the  curious  winged  outline  shown 
iu  Fig.  1:5:5. 

A  third  variety  of  handle  is  a  single  arch,  which  spans  the  orifice 
and  is  attached  to  opposite  sides  of  the  expanded  lip.  In  a  fourth 
variety  the  looped  handles  are  replaced  by  the  heads  of  animals, 
which  are  set  upon  the  shoulder  of  the  vase,  as  are  similar  features  in 
other  groups  of  ware. 

A  type  specimen  with  the  horizontal  loop  is  shown  in  Fig.  128. 
The  lip  and  a  wide  belt  about  the  body  are  painted  red  and  the 
shoulder  is  occupied  by  rudely  executed  arched  strokes  of  the  same 


FIG.  129.  Unpolished  vase  with  heavy  handles  and  coated  with  soot  — J. 


Fin.  130.  Round  bodied  red  vase  with  unique  handles  and  incised  ornament  —  J. 

color.  A  much  less  usual  shape  is  given  in  Fig.  120,  which  exhibits 
some  characters  of  contour  that  remind  us  of  well  known  Grecian 
forms.  Another  novel  variation  from  the  type  is  seen  in  Fig.  130. 
in  which  the  arch  of  each  loop  is  divided  by  an  upright  piece.  A 
neat  incised  ornament  occupies  the  shoulder  of  this  vessel  and  the 
remainder  of  the  body  is  finished  in  pale  red. 


HOLMKH.l 


HANDLED    GROUP   OF    WAKE. 


93 


It  will  bo  observed  that  the  handles  are  rarely  wholly  plain.  Each 
loop  is  supplied  with  one  or  more  rings  or  ring-like  fillets,  or  with 
small  nodes,  generally  near  the  most  prominent  part  of  the  curve  or 
arch.  By  the  study  of  a  large  number  of  specimens  I  am  able  to 
trace  these  puzzling  features  to  their  origin.  They  are  the  repre 
sentatives  of  life  forms  which  were  originally  inodeled  in  full  detail 
and  which  are  still  so  modeled  in  many  cases.  The  nodes  and  like 
features  are  atrophied  heads,  hands,  or  feet,  and  in  some  cases  are 
marked  with  indentations  that  refer  to  the  eyes  or  to  the  fingers  or 
toes,  and  the  round  fillets  stand  for  the  arms  and  legs  of  animals,  or,  if 
notched  in  peciiliar  ways,  may  be  referred  to  other  originals,  such  as 
the  mouths  of  fishes  or  the  spines  of  crabs.  Examples  could  be  given 
showing  all  stages  of  the  progress  of  simplification. 


.  131.  Vast'  with  grotesque  figures  attached  to  the  handles  —  J. 


.  Vase  with  upright  handles  and  winged  lip  —  {. 


FIG. 


In  Fig.  131  I  present  a  fine  example  of  the  horizontal  loop,  in 
which  the  opposite  ends  are  supported  by  grotesque  animal  figures, 
applied,  however,  in  a  way  not  detrimental  to  the  grace  and  simplic 
ity  of  the  vessel. 

An  example  shown  in  Fig.  132  is  of  especial  interest  in  this  con 
nection.  The  ornament  upon  the  handle  serves  as  a  link  between 


04 


ANCIENT   ART    OF   THE    PROVINCE   OF   CHIRlyUI. 


the  realistic  life  form  and  the  conventional  nodes  and  fillets.  In  this 
case  the  node  is  supplied  with  eyes  and  a  mouth,  and  the  double  roll 
of  clay  beneath  is  manifestly  intended  for  the  arms,  the  handle  itself 
standing  for  the  body.  The  loop  is  upright  and  joins  the  shoulder 


Fio.  1fti  Top  view  of  vase  with  winged  lip-- j. 

1o  the  rim.  The  winged  character  produced  by  the  expansion  at  the 
contact  of  handle  and  lip  is  shown  to  advantage  in  the  top  view  (Fig. 
133.)  In  some  cases  this  expansion  is  so  great  as  completely  to  hide 
the  body  of  the  vase  when  viewed  from  above. 

Examples  are  outlined  in  Figs.  134  and  135  in  which  the  life  form 


FIG.  134.  Vase  with 


stiue  animal  shaped  handles  —  .1. 


is  clearly  denned.  In  the  first  we  have  a  human-like  figure,  the  face 
of  which  is  entirely  hidden  by  the  hands.  In  the  second  we  observe 
a  curious  little  animal  figure,  with  a  long  curved  proboscis  and  a  body 
covered  with  annular  indentations.  In  general  shape  and  in  orna 
mentation  these  vases  do  not  differ  from  the  preceding.  A  remarka- 


Ill'l    VI 


HANDLED   GROUP    OF   WARK. 


ble  piece,  with  two  pairs  of  handles,  is  presented  in  Fig.  130.  Gro 
tesque  figures  are  attached  to  the  outer  surface  of  the  loops,  one  in 
each  pair  being  placed  in  an  inverted  position.  The  two  figures  seen 


FIG.  135.  Vase  with  handles  representing  strange  animals-  -.). 

in  the  cut  are  simple,  but  those  on  the  opposite  pair  of  handles  are 
compound,  being  double  above  the  waist.  The  faces,  hands,  and 
feet  of  these  figures  are  touched  with  red,  and  the  lip  and  body  of 


Fin.  ISO.  Vase  with  two  pairs  of  handles  ornamented  with  grotesque  figures- -|. 

the  vase  are  decorated  with  carelessly  drawn  stripes  of  red.  In 
another  case  four  plain  handles  are  placed  equidistantly  about  the 
neck  of  the  vessel. 

In  a  third  variety  the  loop  is  omitted  entirely,  the  animal  figure 
taking  its  place  upon  the  shoulder  of  the  vase.     This  feature  appears 


96 


ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 


in  the  specimen  given  in  Fig.  137  and  represents  the  front  part  of  a 
reptile,  the  head  being  hollow  and  containing  a  large  movable  pellet. 
Tliis  is  a  handsome  piece,  well  finished,  and  decorated  in  the  usual 
broad  way. 


FIG.  137.  Vase  with  handles  representing  animal  heads,  which  are  hollow  and  contain  pellets  of  clay— t. 


A  fourth  variety  is  shown  in  Figs.  138  and  139,  in  which  the  handle 
spans  the  orifice  as  in  an  ordinary  basket.     The  lip  is  flaring  and  is 


Fm.  138.  Vase  with  arched  handles  embellished  with  life  forms  in  high  relief — J. 


HOLMRS.) 


VASKS    OK    Till':    THII'O!)    (iKOl   1' 


prolonged  Jit  the  sides  to  meet  tlie  liandle.     In  one  case  the  outer  sur 
face  of  the  liandle  is  embellished  with  figures  of  frogs  and  serpents, 


Fin. 


Hitn-llislictl  with  life  forms  in  hii*h  relief  —  1. 


or  what  seem  to  be  intended  for  serpents,  modeled  in  the  round  and 
rather  imperfectly  attached,  and  in  the  other  with  a  pair  of  gro" 
tesque  human  figures  set  against  the  base  of  each  end  of  the  handle. 

Typical  vessels  of  this  class  are  in  many  cases  mounted  upon  tripods, 
but .  for  convenience  of  description,  these  are  classed  with  the  succeed 
ing  group,  which  consists  mainly,  if  not  entirely,  of  the  same  variety 
of  ware. 

To  recapitulate,  the-  striking  characteristics  of  this  group  are  the 
uniformity  of  size,  shape,  and  handles,  the  rude  finish  and  ruder 
ornamentation,  and  the  very  marked  evidence  of  use  over  fire. 

The  tripod  tfronp. — Closely  related  in  most  respects  to  the  group  of 
ware  just  described  is  the  striking  series  of  vessels  here  presented.  At 
first  glance  the  resemblances  are  not  apparent,  but  a  careful  study  ren 
ders  it  clear  that  the  vessels  proper  correspond  closely  in  both  groups. 
The  basins  are  for  the  most  part  made  in  the  same  heavy,  rudely 
finished  style,  the  decoration  is  almost  equally  rude,  and  the  size 
and  the  evidence  of  use  over  fire  are  the  same.  The  strong  contrast 
in  appearance  is  due  mainly  to  the  presence  of  tripod  supports  in  this 
group.  The  legs,  which  constitute  such  a  striking  feature,  are  merely 
appendages  to  the  bodies  of  vases  already  perfect,  and  are  evidently 
an  acquired  feature  suggested  by  some  change  in  function  or  in  the 
habits  of  the  people.  In  this  way  we  are  able  to  account  for  the 
0  ETH 7 


98  ANCIENT   ART   OF   THE    PROVINCE   OP   CHIRIQUI. 

rather  uncouth  look  observed  in  so  many  cases,  the  legs  being  too 
long  and  too  heavy  to  please  the  cultured  taste;  yet  in  many  cases  the 
parts  are  so  adjusted  as  to  give  an  impression  of  firmness  and  strength, 
united  with  a  goodly  share  of  grace  of  line. 

The  legs  are  very  generally  modeled  to  represent  animal  forms. 
In  a  majority  of  cases  the  fish  was  chosen  because,  perhaps,  its  shape 
was  suitable  or  because  the  fish  bore  some  relation  to  the  use  to 
which  the  vessel  was  to  be  devoted.  Lizards  and  mammals  are  also 
seen  and  the  human  form  occasionally  appears.  In  some  cases  the 
animal  figure  is  attached  to  the  upper  part  of  the  leg  or  is  perched 
upon  the  hip,  where  that  feature  is  pronounced.  The  body,  or 
shaft,  is  hollow  and  contains  pellets  of  clay,  sometimes  one  only  and 
again  a  dozen  or  more,  and  in  order  that  these  may  be  seen  and  heard 
variously  shaped  slits  are  cut  in  the  sides  or  front  of  the  legs.  If  the 
animal  represented  is  a  fish  or  lizard  the  entire  body  is  modeled :  the 
head  is  placed  at  the  top,  the  under  jaw  or  neck  uniting  with  the 
body  of  the  vessel;  the  tail  rests  upon  the  ground,  and  the  fins  or  legs 
appear  along  the  sides  of  the  shaft.  It  should  be  observed  that,  while 
in  Chiriqui  the  whole  body  of  the  creature  is  usually  employed  in 
forming  the  support,  in  Central  America  and  Mexico  the  head  alone 
is  very  generally  used,  the  nose  resting  upon  the  ground.  In  less 
elaborate  forms  the  legs  are  plain  or  have  the  merest  hint  of  animal 
form  in  a  node,  a  notched  ridge,  or  a  slightly  modified  extremity. 

Handles  are  present  in  a  majority  of  cases  and  as  in  the  preceding 
group  take  the  form  of  loops  or  represent  the  forms  of  animals.  The 
loops  are  generally  attached  in  a  vertical  position,  connecting  the 
shoulder  with  the  lip  of  the  vessel,  and  are  plain  round  ropes  of  clay 
or  consist  of  two  or  three  cords  twisted  or  plaited  together.  A  few 
eccentric  forms  occur  and  are  illustrated  early  in  this  section. 

The  animal  shapes  are  often  quite  elaborate  and  appear  to  bear  no 
relation  to  the  creatures  embodied  in  the  legs  of  the  vessel;  neither 
does  the  position  of  the  handles  bear  any  uniform  relation  to  the 
positions  of  the  legs  —  another  indication  that  the  latter  features  are 
recent  acquisitions,  since  features  developed  together  are  uniformly 
well  adjusted. 

The  rim  or  lip  is  generally  heavy  and  flaring,  and  the  neck,  which 
is  short  and  pretty  sharply  constricted,  is  decorated  with  incised 
patterns  and  with  various  applied  ornaments  in  relief.  The  body  is 
graceful  in  outline  and  more  or  less  conical  below.  As  a  rule  the 
surface  is  uneven  and  but  slightly  polished  and  the  figxires  in  red  are 
rudely  executed,  but  in  the  more  pretentious  pieces  much  care  has 
been  exercised  in  finishing  and  painting.  Most  of  the  vessels  have 
been  used  over  the  fire  and  still  retain  the  sooty  incrustations.  This 
ware  comes  from  a  wide  range  of  territory  to  the  north  and  west  of 
David. 

The  following  illustrations  represent  some  of  the  more  important 


HOLMES.]  VASES   OF   THE   TRIPOD    GROUP.  99 

pieces  and  serve  to  give  a  partial  idea  of  the  range  of  form,  size,  and 
decoration. 

I  present,  first,  three  vases  of  rather  eccentric  shapes,  the  basins  of 
which  are  shallow  and  in  two  cases  are  flat  bottomed.  The  handles 
are  of  ilhusual  shapes,  consisting  of  modifications  of  the  lip,  as  seen 
in  the  illustrations  (Figs.  140-142).  Life  elements  are  present  in  all 


Fio.  142. 
Tripod  vases  with  shallow  basins  and  eccentric  handles — \. 

cases  in  connection  with  the  handles  and  legs  where  these  are  pre 
served,  but  they  are  very  meager  and  so  abbreviated  as  to  be  identified 
with  difficulty.  Incised  markings  at  the  ends  of  the  handles  represent 
hands  or  feet  and  eyes  are  affixed  to  the  upper  part  of  the  legs.  The 
ware  is  identical  with  that  of  the  preceding  group. 

A  representative  specimen  of  the  fish  legged  vessels  is  presented  in 
Fig.  143.  It  is  one  of  the  most  graceful  forms  in  the  series  and  is 
neatly  finished  and  embellished,  but  is  thoroughly  blackened  with 
soot.  The  handles  are  formed  of  twisted  fillets  or  ropes  of  clay  and 
a  narrow,  incised,  rope-like  band  encircles  the  lower  part  of  the  neck. 
Set  upon  the  neck  and  alternating  with  the  handles  are  two  scrolls 
neatly  formed  of  small  round  ropes  of  clay.  The  fishes  forming  the 
legs  are  very  simply  treated.  The  mouth  at  the  apex  is  formed  by 
laying  on  an  oblong  loop  of  clay  and  the  eyes  are  represented  by  two 
round  pellets  set  into  the  soft  clay  of  the  head  and  indented  with  a 
slit  that  gives  to  them  the  exact  effect  of  screwheads.  A  pair  of 
fins  —  small  incised  or  channeled  cones  —  is  placed  at  the  sides  of  the 
head  and  another  at  the  sides  of  the  body.  The  cavity  contains  a 
single  ball  of  clay  and  the  slit  is  long  and  wide. 

In  other  examples  the  fish  form  is  much  more  elaborately  modeled. 


100 


ANCIENT    ART   OF   THE   PROVINCE    OF   CHIRIOIM. 


The  wide  mouth  exhibits  a  row  of  teeth  and  the  body  is  well  supplied 
with  fins.     The  head  in  Fig.  14-1  reminds  one  forcibly  of  tho  catfish. 


Fir;.  1 13.  Tripod  vasi>  nf  praii-fnl  shape  aiirl  iwat  finish—  J. 

Tlie  snout  is  furnished  with  two  horn-like  appendages;  tooth-like 
features  are  formed  by  setting  in  pellets  of  clay,  and  the  gills  are  in 
dicated  by  a  punctured  excrescence  at  the  side  of  the  mouth.  In 


Fio.  144.  Heavy  tripod  vase  with  widely  spreading  feet  — j. 


other  cases  a  high  sharp  cone  is  set  upon  the  middle  of  the  head 
(Fig.  145).     It  is  channeled  down  the  sides,  as  if  meant  for  a  fm. 


lliil.MIW.I 


VASKS    OF    THK    TRIPOD    (iKOL'P. 


101 


The  process  of  modeling  these  heads  was  about  as  follows:  The 
upper  end  of  the  leg  —  the  head  of  the  fish  —  was  first  rounded  off,  giv 
ing  the  general  shape;  then  parallel  incisions  were  made  to  represent 
the  teeth,  and  around  these  a  fillet  of  clay  was  laid,  forming  the  lips, 
which  were  then  channeled  with  a  sharp  tool.  Nodes  or  flattened 
pellets  of  clay,  representing  the  gills,  snout,  and  eyes,  were  then  laid 


Fin.  14.1.  Neatly  modeled  vase  embellished  with  life  f.inns  and  devices  in  red      J 

on  and  finished  with  incision-like  indentations.  The  handles  consist 
of  bird-like  heads,  with  protruding  eyes  and  long  bills  that  curve 
downward  and  connect  with  the  shoulder  of  the  vase.  The  body  is 
rudely  spotted  with  red. 

A  litrge,  uncouth  specimen  is  shown  in  Fig.  14<J.     The  legs  are  pon- 


Fir..  14(1.  High  tripod  vase  with  incised  designs  and  rude  figures  in  red  —  J. 

derous  and  are  not  neatly  adjusted  to  the  vessel.  A  meander  pattern 
of  incised  lines  encircles  the  neck  and  the  body  is  rudely  decorated 
with  broad  red  stripes. 


102 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


There  is  a  general  consistency  in  the  use  of  life  forms  which  is  worthy 
of  notice.  The  fish  and  other  creatures  iised,  although  variously  con 
ceived  and  treated,  are  never  confused.  When  the  fish  is  employed 
no  features  suggesting  other  animals  appear  and  when  the  heads  of 
other  creatures  occupy  the  upper  extremity  of  the  leg  all  the  details 
refer  to  these  creatures  with  uniform  consistency.  In  Fig.  1-47  we 


FIG.  147.  Handsome  tripod  vase  with  scroll  ornament  —  J. 

have  an  unusually  graceful  shape,  decorated  about  the  neck  with 
scrolls  and  indented  fillets.  The  legs  represent  some  reptilian  form 
resembling  a  lizard.  The  head  projects  from  the  hip  and  is  conven 
tionally  treated.  A  round  fillet  fixed  at  its  middle  point  to  the  muzzle 
of  the  creature  is  turned  back  at  the  sides  of  the  head  and  coiled  to 


FIG.  148.  Vase  with  lizard  shaped  legs  — j. 

form  the  eyes.  The  forelegs  are  attached  at  the  sides  near  the  top 
and  the  recurved  terminal  point  is  encircled  by  rings  that  stand  for 
the  coiled  tail. 


HOLMES.] 


VASES    OF   THE   TRIPOD    GROUP. 


103 


There  is  little  room  for  doubt  as  to  the  kind  of  creature  represented 
in  the  legs  of  the  vase  given  in  Fig.  148.     The  head.  legs,  and  general 


Fio.  150.  I  .urge  vase  with  flaring  rim  and  wide  spreading  legs  —  }. 


104 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


shape  are  characteristic  of  the  lizard.  The  vessel  is  small,  plain,  and 
neatly  finished.  In  Fig.  149  the  legs  of  the  vessel,  otherwise  quite 
plain,  are  surmounted  by  heads  that  seem  to  represent  a  dog  or  some 
like  animal.  A  series  of  neat  vertically  placed  scrolls  formed  of 
round  iillets  encircles  the  neck,  and  below  these  is  a  band  in  relief 
imitating  a  twisted  cord. 

A  vase  of  unusually  striking  appearance  is  presented  in  Fig.  1 50. 
It  is  one  of  the  largest  tripods  in  the  collection  and  is  characterized 
by  a  high  widely  expanded  lip  and  a  long  conical  body  and  by  legs 
of  unusual  size  and  conformation.  Small  animal  figures  are  perched 
upon  the  projecting  hips.  The  surface  of  the  vessel  is  rudely  finished 
and  is  much  blackened  by  smoke  about  the  upper  part  of  the  legs  and 
the  body. 

A  unique  use  of  the  animal  form  is  illustrated  in  Fig.  ir>l.  which 
shows  a  large  fragment  of  one  of  these  tripods.  The  figure  of  an 


Fin.  151.  Fragment,  of  a  tripod  vase  embellished  with  the  figure  of  an  alligator. 

alligator,  modeled  with  a  gi'eat  deal  of  spirit,  is  attached  to  the  side  of 
the  vessel,  resting  partly  upon  the  leg  and  extending  upward  obliquely 
to  the  lip.  A  similar  figure  upon  the  opposite  side  of  the  same  vase 
is  represented  as  grasping  the  form  of  a  man  or  boy  in  its  formidable 
looking  jaws. 

The  alligator,  rarely  employed  in  this  group  of  ware,  is  freely  used 
in  other  groups  and  was  probably  a  creature  of  importance  in  the 
mythology  of  Chiriqui. 

In  one  case  only,  so  far  as  I  have  seen,  is  the  human  form  employed 
in  the  supports  of  these  vessels,  and  in  that  case,  as  will  be  seen  in 
Fig.  152,  the  result  is  extremely  grotesque.  The  shape  of  the  basin 
is  good  and  the  thick,  rounded  lip  and  most  of  the  surface  are  care 
fully  polished.  A  disconnected  meander  of  incised  lines  encircles 
the  rather  high  neck,  and  parts  of  the  body  and  its  attached  features 


VASES    OF   THE    TKIPOI)    (JKOUP. 


lOfj 


are  painted  rod.  As  usual  this  color  was  applied  along  with  the  slip 
and  in  polishing  lias  become  much  mixed  up  with  it.  giving  a  mottled 
effect.  The  handles  take  the  form  of  curious  human-appearing  figures 


Fio.  154.  Vase  supported  by  grotesque  human  figures  —  }. 

which  sit  against  the  constricted  neck,  their  heads  supporting  the 
rim  and  Ilieir  feet  resting  upon  the  shoulder  of  the  vessel.  In  one 
case  the  hands  are  held  tightly  against  the  lower  part  of  the  face  and 
in  the  other  they  are  hound  together  against  the  chin  by  a  serpent- 
like  cord  of  clay.  The  hollow  figures  forming  the  legs  of  the  vase 
are  as  grotesque  as  could  well  be  imagined.  There  is  no  head  what 
ever,  and  the  outlandish  features  are  placed  upon  the  front  of  the 
upper  part  of  the  body.  The  arms  and  hands  take  the  conventional 
position  characteristic  of  the  statuary  of  the  isthmian  states  and  the 
only  traces  of  costume  are  bands  about  the  wrists  and  a  girdle  encir 
cling  the  lower  part  of  the  body. 

I  add,  in  Fig.  153,  one  more  example,  a  large,  full  bodied  vase, 
which,  more  decidedly  perhaps  than  any  of  the  foregoing,  pro 
claims  its  relationship  to  the  preceding  group.  If  the  three  rather 
clumsy  legs  were  knocked  off  there  would  remain  a  large  beautifully 
shaped  and  finished  vase,  with  a  constricted  but  flaring  rim  not  in  any 
way  distinguishable  from  those  of  the  preceding  group.  The  legs  in 
this  case  are  less  perfectly  adapted  to  the  vessel  than  in  the  other 
examples,  as  if  Ihe  potter,  skillful  in  modeling  the  vessel,  had  only 
recently  undertaken  to  add  the  tripod.  The  slit  in  the  outer  face  of 
the  leg  is  unusually  wide  and  the  inclosed  ball  is  three-fourths  of  an 
inch  in  diameter.  The  most  remarkable  feature  of  this  vessel  is  the 
pair  of  unique  figures  affixed  to  the  upper  surface  of  the  body  near  the 
lip,  and  which  would  seem  to  be  intended  to  represent  semihumaii 
monsters.  The  arms  and  legs  are  contorted  and  serpent-like  in  ap 
pearance  and  terminate  in  most  cases  in  heads  of  serpents  instead  of 


10G 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


in  hands  and  feet.  The  attitude  is  expressive  of  agony  or  horror. 
It  seems  to  me  probable  that,  contrary  to  the  rule  in  primitive  art, 
these  strange  figures  do  not  embody  any  well  defined  or  serious  con 
ception,  but  are  rather  exhibitions  of  the  fancy  of  the  potter.  They 
occiipy  small  unpainted  panels,  which  are  finished  in  neat  incised  pat 
terns.  The  remaining  surface  is  a  bright  red. 


FIG  153.  Round  bodied  vase  embellished  with  figures  of  monsters  — J. 

It  may  be  noted,  in  recapitulation,  that  these  vases,  although  elabo 
rately  modeled  and  often  well  finished,  are  mdely  decorated  and  very 
generally  show  use  over  fire ;  that  the  legs,  though  often  graceful 
and  well  proportioned,  are  in  many  cases  clumsily  adjusted  to  the 
body,  giving  a  decidedly  unsatisfactory  result  as  a  whole.  This  ware 
was  devoted  to  domestic  uses,  or,  if  otherwise,  in  all  probability  to 
the  burning  of  incense.  Animal  forms  are  freely  employed,  but  in 
a  rather  rude  way.  The  fish  form  is  more  generally  used  than  any 
other,  and  is  in  all  cases  embodied  in  the  legs  of  the  vessel,  the  head 
joining  the  body  of  the  vessel  and  the  tail  resting  upon  the  ground. 
These  representations  exhibit  all  grades  of  elaboration  from  the  fairly 
well  modeled  to  the  merest  suggestion  of  animal  character — anyone 
feature,  as  the  mouth,  the  eye,  the  fins,  or  the  tail,  being  alone  a  suf 
ficient  suggestion  of  the  creature  to  satisfy  the  potter  and  keep  alive 
the  idea  of  the  fish.  Other  animal  forms  are  employed  in  modeling 
the  legs,  and  exhibit  eqiially  varying  degrees  of  elaboration,  and  it  is 


HOLMES.]  VASES    OF   THE    MAROON   GROUP.  107 

•worthy  of  especial  note  that  creatures  are  not  confused  or  confounded, 
so  far  as  I  can  discover,  at  any  stage  of  the  simplifying  process  — 
that  a  fish  is  still  purely  a  fish  if  nothing  is  left  to  represent  it  but  a 
node  or  an  incision.  There  is  no  apparent  relationship  between  the 
animal  forms  forming  the  legs  and  those  attached  to  the  body  or  to 
UK!  rim  of  the  vessel. 

The  pottery  of  the  two  groups  already  presented  exhibits  charac 
ters  so  uniform  throughout  that  there  need  be  no  hesitation  in  plac 
ing  them  together  as  the  work  of  .one  community  and  of  one  period 
of  practice  of  the  art;  but  between  these  groups  and  those  that 
follow  there  is  a  wide  gap.  The  differences  are  so  marked  that,  if 
they  had  come  from  widely  separated  localities,  very  intimate  rela 
tionships  would  not  have  been  suggested. 

The  maroon  group. — For  the  want  of  a  better  name  I  have  called 
the  group  first  to  be  presented  the  maroon  group,  on  account  of  its 
color.  Our  collection  comprises  not  more  than  a  dozen  pieces  of 
this  ware.  The  locality  from  which  they  come  is  called  Los  Tena- 
jos  by  Mr.  McNeil,  but  he  has  not  distinguished  them  in  any  way 
from  the  other  varieties,  and  I  am  therefore  unable  to  say  whether 
or  not  they  occiir  together  with  others  or  under  identical  condi 
tions.  In  symmetry  of  outline,  diversity  of  shape,  and  cleverness  of 
modeling  this  ware  takes  a  high  rank,  bvit  there  is  no  painted  orna 
ment.  The  surfaces  are  iisually  well  polished,  and  all  exposed  parts 
have  received  a  coat  of  purplish  maroon  colored  paint.  The  paste 
contains  a  great  deal  of  fine  sand,  and  is  yellowish  upon  the  surface 


Fia.  154.  Cup  with  incurved  rim  and  lift-  form  ornamentation— } 


Fio.  155.  Cup  with  widely  expanded  rim  and  constricted  neck  —  f . 

and  generally  quite  dark  within  the  mass.  Considering  the  small 
number  of  pieces,  the  scale  of  form  is  remarkably  varied.  There  are 
plain  bowls  with  incurved  rims  and  with  flaring  rims,  vases  with 


108 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIOUI. 


round  bases,  with  annular  stands,  and  with  tripods,  and  life  forms 
wholly  unique.  Perhaps  the  most  usual  form  is  that  shown  in  Fig. 
154.  which  represents  a  small  cup  with  incurved  rim  and  a  narrow 
annular  base.  The  shoulder  is  embellished  with  three  groups  of 
small  nodes,  of  four  each,  which  refer  to  some  animal  form.  In  other 
similar  vases  the  form  of  the  creature  is  given  in  more  realistic  guise. 
A  larger  vase,  similar  to  this  in  most  respects,  has  a  rounded  contour 
and  incurved  lip.  The  periphery  is  supplied  with  four  plain  nodes. 
Another,  shown  in  Fig.  155,  has  a  wide  recurved  rim.  a  character 
seen  to  equally  good  advantage  in  some  of  the  following  figures.  In 


FIG.  15ti.  Small  tri|>oil  cup  with  animal  features  in  hi^h  relief.  —  }.. 


FIG.  1">7.  Handsome  vase  supported  by  three  grotesque  figures  —  J. 

the  small  vase  represented  in  Fig.  15(>  the  treatment  of  animal  forms 
in  connection  with  the  body  of  the  vessel  is  shown  to  good  advantage. 


HOLMES.]  VASKS    OF   THE   RED    LINE   GROUP.  109 

The  head,  legs,  and  tail  of  what  is  probably  intended  to  represent  an 
alligator,  modeled  in  the  round,  are  attached  to  the  periphery  of  t.ho 
basin,  and  heads  of  some  mammal  are  used  for  legs. 

A  most  interesting  tripod  is  shown  in  Fig.  157.  The  bowl  is  beau 
tifully  modeled,  is  symmetrical,  and  has  a  flaring  rim,  rounded  and 
polished  on  the  upper  surface  and  drooping  slightly  at  the  outer  mar 
gin.  The  body  is  hemispherical  and  is  supported  by  three  grotesque 
anthropomorphic  figures  that  strongly  remind  us  of  the  "  mud  head" 
masks  used  in  one  of  the  dances  of  the  Zufii  Indians.  The  head  is  a 
rounded  ball,  upon  which  pellets  of  clay  are  stuck  to  represent  the 
features.  The  arms  are  set  against  the  sides  of  the  body,  as  in  other 
isthmian  specimens,  the  hips  are  excessively  large,  the  legs  straight, 
and  the  feet  small  and  united  to  form  the  foot  of  the  vessel.  Nearly 
the  entire  surface  is  finished  in  a  dark  purplish  red  paint,  which  ap 
pears  to  have  been  polished  down  as  a  slip.  A  companion  piece  is 
considerably  smaller  and  the  supporting  figures  are  very  grotesque 
and  somewhat  crouched,  as  if  bearing  a  very  heavy  weight. 

A  number  of  large  basins  or  caldrons,  collected  in  Chiriqui.  and 
fragments  of  vessels  of  extraordinary  size  resemble  this  ware  in 
material,  color,  and  finish.  The  rims  of  the  larger  pieces  are  up 
wards  of  an  inch  thick  and  the  walls  are  in  cases  three-fourths  of  an 
inch  thick.  A  number  of  large  vessels  of  similar  ware  now  in  the 
National  Museum  were  collected  in  Costa  Rica  and  Nicaragua. 

The  red  line  (jronp. — The  group  of  vessels  to  which  I  have  given 
this  name  is  represented  by  about  a  dozen  specimens,  which  indicate 
a  wide  range  of  form  and  exhibit  a  number  of  unique  characters. 

The  localities  from  which  they  are  derived  extend  from  8°  20'  to 
8°  40'  north  latitude  and  from  82°  40'  to  82°  50'  west  longitude. 

The  paste  is  of  about  the  usual  composition,  but  takes  a  variety  of 
tints  on  burning,  a  light  gray  orange  prevailing.  The  finish  of  the 
surface  is  about  the  same  as  in  other  groups.  The  decoration  consists 
of  life  forms  and  their  conventional  representatives  in  relief  and 
of  carelessly  executed  geometric  designs,  the  pigment  used  being  a 
bright,  sienna-like  red. 

As  will  be  seen  by  reference  to  the  illustrations,  the  forms  are 
varied  and  pleasing,  but  for  the  most  part  repeat  outlines  common 
to  other  groups.  The  handles,  single  or  in  twos,  are  upright  loops, 
and  the  tripods  are  in  nearly  all  cases  looped  or  annular,  an  unusual 
feature  in  other  groups. 

I  present  three  illustrations,  two  of  which  were  given  in  outline  in 
the  introductory  pages.  The  first  (Fig.  1">S)  has  a  well  proportioned, 
somewhat  globular  body,  supported  by  three  legs  formed  of  looped 
bands  of  clay.  On  the  shoulder  are  two  small  animal  forms,  prob 
ably  meant  for  frogs.  The  spaces  between  these  are  occupied  by 
panel-like  arrangements  of  red  lines.  The  surface  is  yellowish  gray 
in  color,  excepting  where  blackened  in  the  baking.  The  paste  has 


110 


ANCIENT   ART   OF   THE   PROVINCE   OP   CHIRIQUI. 


cracked  in  firing,  a  feature  observed  in  a  number  of  pieces  belonging 
to  this  group. 

A  unique  piece  is  represented  in  Fig.  159.     The  single  handle  is  a 


FIB.  158.  Vase  decorated  with  figures  of  frogs  and  devices  FIG.  159.  Vase  of  unique  shape  and 

in  red  —  h  life  form  ornamentation  —  i. 

high  projecting  loop  and  connects  with  the  margin  of  the  orifice, 
which  rises  to  meet  it,  and  with  the  lower  part  of  the  shoulder.  An 
animal  form,  apparently  anthropomorphic,  is  embodied  in  this  vessel. 
The  upper  part  of  the  vessel,  separated  by  a  slight  constriction  from 
the  body  proper,  represents  the  head  of  the  creature,  the  nose,  mouth, 


Fio.  160.  Two  handled  vase  with  life  form  and  linear  decoration  —  }. 


HOLMES.]  VASES    OF   THE   WHITE    LINK   (iROUP.  Ill 

and  eyes  appearing  on  the  front  and  the  ears  at  the  sides.  A  few 
incised  lines  seen  upon  the  inner  surface  of  the  handle  stand  for  the 
hair.  Upon  the  shoulder  are  two  sharp  nodes,  standing  for  the 
breasts,  and  between  these  are  markings  that  represent  a  necklace. 
A  rude  design  in  red  lines  covers  the  upper  surface  of  the  body. 

A  graceful  shape  is  illustrated  in  Fig.  100.  The  paste  is  a  grayish 
orange  on  the  surface  and  is  rather  dark  within  the  thicker  portions 
of  the  walls.  The  under  surface  is  much  blackened  by  use  over  fire. 
An  interesting  feature  is  seen  upon  the  handles  at  the  highest  point 
of  the  loop.  Instead  of  the  single  indented  transverse  fillet  observed 
in  similar  forms  in  other  groups,  we  have  two  such  features,  set 
about  an  inch  apart,  and  between  them  are  two  indented  nodes  which 
stand  for  eyes,  and  a  number  of  indentations  within  the  space  refer 
to  other  features  of  the  animal  suggested.  Upon  the  shoulder  and 
collar  of  the  vessel  are  carelessly  drawn  geometric  patterns  in  red 
lines. 

The  white  line  group. —  One  grcmp  of  vases,  of  which  we  have  but 
four  pieces,  is  characterized  by  the  use  of  a  whitish  pigment  in  de 
coration.  Not  one  of  the  collections  that  I  have  seen  is  well  sup 
plied  with  this  class  of  ware,  and  hence  little  can  be  said  of  its  varie 
ties  of  form  and  ornament.  All  are  tripods,  but  the  shapes  of  the  ves 
sels  vary  considerably.  Two sinall  pieces  are  from  latitude  8°  40'  north 
and  longitude  82°  32'  west.  One  of  these  is  shown  in  Fig.  101.  They 
are  small,  rather  carelessly  finished  tripods,  with  narrow  necks  and 


FIG.  1CI.  Small  tripod  vow  with  animal  figures  in  white  —  1. 

flattened  bodies.  The  inner  surface  of  the  orifice  and  the  under  side  of 
the  body  are  painted  a  dull  red.  The  remainder  of  the  surface  is  a 
warm  reddish  gray,  the  color  of  the  slip  and  the  paste.  The  legs  in 
the  piece  figured  represent  some  small  creature  with  a  rabbit-like  face 
and  a  body  which  tapers  gradually  to  the  base.  Two  feet  are  placed 
near  the  middle  of  the  body,  which  is  striped  transversely  with  white 
lines.  A  white  collar  crosses  the  neck  and  the  eyes  are  white  dots. 
The  upper  surface  of  the  vase  is  embellished  with  two  animal  figures, 
executed  in  a  white  earthy  pigment.  They  may  refer  to  the  alligator, 


112 


ANCIENT    AKT    OF    THE    PROVINCE    OF   CHIRIQUI. 


hut  the  drawing  is  too  conventional  to  admit  of  full  identification. 
The  companion  piece  is  a  little  larger,  and  the  upper  surface  is  deco 
rated  with  three  groups  of  broad  white  stripes,  bordered  by  rows  of 
dots,  which  extend  from  the  base  of  the  neck  to  the  periphery  of  the 
body.  The  legs  are  similar  to  those  of  the  other  piece.  The  little 
animal  figure  fixed  to  the  tipper  end  or  hip  is  identical  with  that  seen 
in  the  following  illustration. 


FIG.  1(12.  ShajK'ly  vase  with  designs  in  white  paint—  j. 

The  large  tripod  vase  presented  in  Fig.  102  is  distinct  in  many 
ways  from  anything  in  the  collection  and  is  remarkable  for  sym 
metry  of  form  and  neatness  of  finish.  The  body  is  a  long,  symmet 
rical  cone  and  the  legs  are  long,  straight  cylinders,  neatly  rounded 
off  to  a  point  below.  A  thick  rim  projects  at  a  sharp  angle  and  is 
rounded  up  toward  the  margin.  The  legs  are  hollow,  and  through 
two  pairs  of  lateral  slits  a  number  of  small  pellets  can  be  seen,  which 
rattle  when  the  vase  is  moved.  Rudely  modeled  little  animals,  with 
erect  ears,  large  feet,  and  conical  tails,  are  fixed  to  the  upper  end  of 
the  legs.  The  ground  color,  the  slip,  and  the  paste  are  of  a  reddish 


HUI.MKS.I  VASES   OF   THE   LOST   COLOR   (JKOUP.  113 

gray  cast.  The  greater  part  of  the  surface  seems  to  have  been  painted 
red,  but  the  vase  has  been  used  over  fire  to  such  an  extent  that  little 
of  the  original  color  remains.  The  body  and  the  legs  have  been  deco 
rated  with  geometric  patterns  in  a  whitish  pigment  that  can  be  scraped 
off  like  indurated  clay.  The  little  animal  figures  were  also  painted 
white.  A  vase  very  similar  to  this,  from  which  the  legs  have  been 
removed,  and  the  surface  smoothed  down,  has  a  longer  and  more 
graceful  body  and  a  similar  rim.  Another  piece,  exhibiting  simi 
lar  yet  oven  more  strongly  marked  characteristics  of  shape,  belongs 
to  the  collection  of  Mr.  J.  B.  Stearns. 

The  loxt  color  cjronp. — In  number  of  specimens  this  group  is  second 
to  none,  excepting  perhaps  that  given  under  the  head  of  terra  cotta 
ware.  Nine-tenths  of  the  pieces  may  be  classed  as  bottles,  which 
have  rather  short,  wide  necks  and  globular  bodies,  slightly  conical 
below  and  in  cases  flattened  above.  They  range  in  size  from  one  inch 
to  nearly  a  foot  in  height,  but  the  average  capacity  is  not  above  a 
pint.  Aside  from  the  bottles  there  is  a  wide  range  of  shapes.  There 
are  shallow  bowls  and  various  complex  and  compound  forms.  Ani 
mal  forms  are  associated  with  all  classes  of  vessels.  Tripod  supports 
are  limited  to  rather  modest  proportions,  and  handles,  although  often 
present  and  greatly  varied  in  style,  do  not  constitute  an  important 
feature.  These  vessels  are  remarkably  well  preserved  and  exhibit 
few  traces  of  abrasion  by  use  or  of  blackening  over  fire.  The  paste 
is  fine  grained  and  usually  of  a  light  yellow  gray  tint  throughout. 

The  surface  was  finished  either  in  a  light  colored  slip  or  in  a  strong 
red  pigment.  In  some  cases  the  light  tint  was  used  exclusively  and 
again  the  red  covered  the  entire  surface,  Init  more  frequently  the 
two  were  used  together,  occupying  distinct  areas  of  the  same  vessel 
and  forming  the  groundwork  for  decorative  patterns  in  other  colors. 
They  were  usually  polished  down  witli  very  great  care,  giving  a 
glistening  surface,  upon  which  the  markings  of  the  tool  can  still  be 
seen. 

I  have  already  described  the  methods  of  decoration,  but  may  review 
them  briefly  here.  The  bright  red  color,  which  forms  such  a  promi 
nent  and  pleasing  feature,  is,  as  stated  above,  only  a  ground  tint  and  is 
not  used  in  any  case  in  the  delineation  of  design.  The  actiial  pat 
terns,  so  varied  and  interesting,  were  worked  out  in  a  pigment  or  fluid 
now  totally  lost,  but  which  has  left  traces  of  its  former  existence 
through  its  effect  upon  the  ground  colors.  In  beginning  the  decora 
tion,  a  thin  black  color,  probably  of  vegetal  character,  was  carried 
over  the  area  to  be  treated,  and  upon  this  the  figures  were  traced  in  the 
lost  color.  When  this  color  (if  it  was  indeed  a  pigment,  and  not 
merely  an  acid  or  "taking  out "  medium)  disappeared,  it  carried  with 
it  the  black  tint  beneath,  exposing  the  light  gray  and  red  tints  of  the 
ground  and  leaving  the  interstices  in  black.  The  interstitial  figures 
thus  formed  are  often  of  such  a  character  as  to  be  taken  for  the  true 
6  ETH 8 


114  ANCIENT   ART   OF   THE   PROVINCE   OP   CHIRIQUI. 

design.  In  examining  the  decoration  of  this  ware  it  is  essential  that 
this  fact  should  be  kept  in  mind,  as  otherwise  great  confusion  will 
result. 

The  nature  of  the  materials  employed  cannot  be  determined.  Ap 
plied  to  the  polished  surface,  they  were  easily  removed.  The  black 
ground  tint  is  now  easily  rubbed  off  and  in  most  cases  is  much  in 
jured  by  handling  or  by  contact  with  the  soil.  The  lost  color  may 
have  been  similar  to  the  white,  argillaceous  pigment  used  by  the 
Aztecs,  which  has  in  many  cases  partially  or  wholly  disappeared, 
leaving  its  marks  upon  the  ground  either  by  deadening  the  polish  or 
by  removing  portions  of  the  slip  and  the  paste  upon  which  it  was  laid, 
presenting  the  ornament  in  intaglio. 

The  designs  are  infinitely  varied  in  appearance  and  arrangement, 
yet  are  far  from  havjng  a  mixed  or  heterogeneous  character.  It  is 
2>robably  our  lack  of  knowledge  of  the  origin  and  history  of  the  ele 
ments  and  their  derivations  that  causes  confusion.  Both  geometric 
and  imitative  elements  abound  and  are  blended  in  perfectly  graded 
series.  The  treatment  of  geometric  figures  is  peculiar  to  Chiriqui 
and  in  many  respects  is  peculiar  to  this  group  of  ware.  Classic 
forms,  such  as  the  meander,  the  scroll,  and  the  fret,  rarely  occur 
and  are  barely  recognizable.  It  appears  from  a  close  study  of  all  the 
work  that  motives  derived  from  nature  have  greatly  leavened  the 
whole  body  of  decoration.  This  matter  will  receive  attention  as  the 
examples  are  presented  and  will  be  treated  with  greater  care  in  a 
succeeding  section. 

Plastic  decoration,  aside  from  the  life  forms  so  commonly  associated 
with  the  body  of  the  vase  and  with  the  handles  and  legs,  is  not  of 
importance.  The  high  degree  of  polish  required  in  this  ware  tended 
to  simplify  all  relieved  featiires. 

The  presence  of  life  forms  in  relief  has  produced  important  modifi 
cations  in  the  appearance  and  the  arrangement  of  the  painted  devices, 
and  in  many  cases  there  is  a  manifest  correlation  between  the  plastic 
and  the  painted  forms:  as,  for  example,  when  the  body  of  the  vase  was 
thought  of  as  the  body  of  the  animal,  the  extremities  of  which  were 
placed  upon  its  sides,  the  colored  figures  carried  out  the  idea  of  the 
creature  by  imitating  iu  a  more  or  less  conventional  way  the  mark 
ings  of  the  body.  This  will  be  understood  through  reference  to  the 
examples  presented  in  the  following  pages. 

I  will  present,  first,  a  series  of  bottles,  selecting  at  the  beginning 
those  decorated  in  the  more  purely  geometric  style  and  gradually 
approaching  those  upon  which  animal  forms  are  treated  in  a  literal 
manner.  The  few  pieces  selected  for  illustration  are  totally  inade 
quate  to  the  proper  representation  of  the  group  and  nmst  be  regarded 
only  as  average  specimens,  more  or  less  typical  in  character. 

I  give  first  a  number  of  examples  in  which  the  decorative  devices 
are  arranged  in  horizontal  zones.  In  Fig.  103  broad  bauds  of  orna- 


IIOLMKS.  ] 


IM>TTI,KS    OF    T1IK    LOST    COLOR    CiKOUP. 


115 


ment,  consisting  of  scalloped  and  j)lain  lines,  encircle  the  neck  and 
the  body  of  the  vessel.  In  finishing  this  piece  the  whole  surface  was 
painted  a  rich  red  and  highly  polished;  then  a  black  coat  was  applied, 
covering  the  body  from  the  lip  to  the  base  of  the  design;  and  finally 
the  delineating  fluid  was  applied,  removing  the  black,  as  shown  in  the 
narrow  lines,  the  sharply  dentate  bands,  and  the  broad,  plain  band 


Fio.  IIS).  Small  red  bottle  with  horizontal  hands  of  ornament  consisting  of  plain  and  scalloped 
lines  — | . 


Fir..  1(H.  Small  red  in.t 


geometric  devices 


between.  The  second  example  (Fig.  K>4)  varies  somewhat  in  shape 
and  design,  but  is  identical  in  color  and  manipulation.  The  dark 
figures  are  merely  the  interspaces,  although  they  appear  at  first 
glance  to  have  been  intended  for  the  design  proper. 

In  a  numerous  series  of  vessels  the  decorated  bands  are  divided  into 
compartments  or  panels,  often  four  in  number,  which  spaces  are  occu 
pied  by  lines  and  figures  of  greatly  diversified  characters.  In  the 
example  shown  in  Fig.  1<>5  the  ground  color  of  the  principal  zone  is 
in  fhe  light  yellow  gray  tint  of  the  slip,  the  remainder  being  red. 
This  lends  brilliancy  to  the  effect. 


116 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


Iii  the  vase  shown  in  Fig.  10(5  the  treatment  is  in  a  general  way  the 
same,  but  the  compartments  are  triangular  and  are  separated  by  lines 
that  form  a  disconnected  meander.  An  additional  example  is  given 
in  Fig.  107.  Here  the  principal  zone  is  expanded  to  cover  the  whole 


FIG.  1UT).  Bottle  with  zone  occupied  by  geometric  devices— J. 


Fio.  iKti.  Hot  tie  with  broad  zone  containing  geometric  figures  —  j. 

upper  surface  of  the  vase,  which  was  finished  in  the  light  colored  slip 
to  receive  it.  The  principal  lines  are  arranged  to  give  the  effect  of 
rays  when  viewed  from  above,  but  as  seen  in  the  cut  they  give  the 
effect  of  a  carelessly  connected  meander.  The  groups  of  lines  are 


VASKS    OK    THE    LOST    C'OLOK 


117 


bordered  by  scries  of  dots.  A  great  number  of  pieces  arc  painted  in 
this  style.  The  effect  is  varied  by  altering  tlie  sha]ie  of  the  inter 
spaces  or  by  modifying  the  number  and  relationship  of  the  lines,  dots, 
and  figures. 


Fin.  Kir.  Bottle  with  decoration  of  meandered  lines— J. 

Somewhat  similar  also  in  general  effect  to  the  last  example  is  the 
work  upon  another  important  series  of  vases.  Instead  of  the  sim 
ple  meandered  or  zig/ag  arrangement  of  parts,  two  of  the  dividing 


FIR.  1(K  Bottle  with  aivht'd  pant-is  and  tfeometrir  devices — J. 

lines  of  the  zone  run  tangent  to  the  neck  of  the  vase  on  opposite 
sides,  forming  arched  panels  and  leaving  upright  panels  between. 


us 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIKIQUI. 


In  the  example  presented  in  Fig.  KiS  the  arched  areas  are  filled  in  with 
lattice-like  arrangements  of  lines.     In  others  we  have  dots,  checkers, 


FIG.  KJO.  Bottle  with  arched  panels  and  elaborate  devices — ^. 

and  varied  geometric  combinations,  and  in  very  many  cases  the  fig 
ures  are  derived  from  life  forms.  The  same  may  be  said  of  the  de 
vices  that  occupy  the  spaces  between  the  arches.  The  piece  shown  in 
Fig.  1(59  exhibits  a  somewhat  more  elaborate  treatment,  but  the  mo 
tives  and  arrangements  are  much  the  same.  These  vessels  are  pecii- 
liar  in  the  treatment  of  the  ground.  The  entire  surface  is  red,  with 
the  exception  of  narrow  bands  of  light  ground  color,  which  outline 
the  arches  and  encircle  the  periphery.  In  other  cases  these  bands  are 
red,  the  remainder  of  the  ground  being  light,  Series  of  lines  are 
drawn  from  the  lower  border  of  the  zone  to  the  center  of  the  base  of 
the  body. 

In  a  small  group  of  vases  we  have  a  radiate  ornament  within  the 
arches  and  in  a  few  cases  the  arched  lines  are  continued  down  around 


FIG.  in.  Vase  with  rosette-like  panels- j.         FIG.  ITOn.  Ornament  from  vase  shown  in  Fig.  iro. 


the  base  of  the  vessel,  forming  vertical  circles  in  which  rosette-like 
designs  are  formed  by  repenting  the  radiate  figures  in  an  inverted 


IIOLMKS.  I 


VASES  OF  THK  LOST  COLOR  GROUP. 


110 


position  below  the  peripheral  line.     T lie* elaboration  in  these  circular 
inclosures  is  very  remarkable,  as  will  be  seen  by  reference  to  the  three 


Fio.  171.  Vast1  with  rosette  likti  panels  — J. 


FIG.  17*'.  Vos 


panels —  J. 


examples  given  in  Figs.  ITO,  l?l,and  174.  In  the  first  case  the  periph 
eral  line  is  a  red  band  nearly  one-half  an  inch  wide  and  the  rays 
appear  in  groups  above  and  below  it.  Within  the  four  broader  black 
rays (Fig.  ITOf/),  which  are  the  interspaces  or  remnants  of  the  ground, 
groups  of  lines  have  been  drawn,  in  most  cases  curved  at  the  inner  ends 
like  an  opening  frond  and  accompanied  in  all  cases  by  series  of  dots. 
An  examination  of  a  number  of  vessels  shows  various  degrees  of  con 
vention.  It  is  clear,  however,  that  these  devices,  showing  curves, 
hooks,  and  dots,  are  not  of  technical  or  mechanical  origin,  but  that 
they  refer  to  delineative  originals  of  which  they  are  survivals;  but  we 
must  remain  in  the  dark  as  to  what  the  originals  were  or  what  was  the 
precise  nature  of  the  idea  associated  with  them  in  the  mind  of  the 
decorator.  Another  question  refers  to  the  arrangement  of  the  parts 
of  the  design  in  the  five  preceding  figures.  The  distribution  of  the 
designs  is  a  matter  of  great  interest,  and  much  may  be  learned  from  a 
close  study  of  these  specimens. 

Horizontal  zones  appear  in  the  ceramic  decoration  of  all  countries, 
and  result,  no  doubt,  from  technical  causes;  but  the  division  of  zones 
into  compartments  of  peculiar  shape  is  due  to  other  influences.  I  be 
lieve  the  peculiar  arched  arrangement  here  seen  results  from  the  em 
ployment  of  plastic  features,  such  as  handles  or  life  forms.  The 
ancient  races  were  accustomed  to  conceive  of  the  vessel  as  the  body  of 
an  animal,  an  idea  originating  in  the  association  of  mythologic  con 
ceptions  with  art.  The  head  and  the  tail  of  the  particular  creature 
thought  of  were  attached  to  opposite  sides  of  the  vase  and  consequently 
interfered  with  the  original  zonal  arrangement  of  the  design  where 
it  existed,  or  where  it  did  not  exist  the  sides  were  tilled  with  devices 
representing  the  markings  of  the  creature's  body.  The  decoration 
now  consisted  of  four  parts,  two  in  the  round  or  in  relief  and  twoiii 
color,  the  former  occupying  small  areas  and  the  latter  wide  areas,  as 


120 


ANCIENT   ART   OF    THE   PROVINCE   OF   CHIRIQVI. 


seen  in  Fig.  173.  The  same  result  would  spring  from  the  use  of  two 
handles,  such  a  common  feature  in  this  ware.  The  lateral  spaces 
reached  from  the  periphery  to  the  base  of  the  neck  and  were  most 


FIG.  173. 


Fin.  174. 
Theoretical  origin  of  the  arched  panels. 


readily  and  naturally  separated  from  the  plastic  features  by  lines  ex 
tending  across  the  shoulder  tangent  to  the  neck  and  forming  arches 
(Fig.  174).  In  time  the  plastic  features,  being  difficult  to  manage, 
would  gradually  decrease  in  boldness  of  modeling  and  finally  disap 
pear,  leaving  a  space  upon  which  the  life  form  could  be  symbolized 
in  color  (Fig.  17f>).  Now  it  happens  that  in  this  collection  we  have 
a  series  of  examples  illustrating  all  stages  of  this  change,  the  first, 
the  middle,  and  the  final  steps  being  shown  in  the  above  figures. 


FIG.  17fi.  Vase  decorated  with  conventional  figures  of  alligators— f. 

In  multiplying  these  vessels  the  original  forms  and  associations  of 
decorative  features  are  necessarily  to  some  extent  lost  sight  of  :  the 
panels  change  in  shape,  number,  and  relationships;  and  devices  orig 
inally  appropriate  to  particular  spaces  are  employed  indiscriminately. 
so  that  the  uninitiated  see  nothing  but  confusion.  All  devices  are 
delineations  of  or  have  more  or  less  definite  reference  to  the  creature 
or  spirit  associated  with  the  vessel. 


HOLMES.  ] 


VASES    I)K('OKATKI)    WITH    UFE    FORMS. 


121 


1  will  now  pass  over  tin-  many  hundreds  of  pieces  with  designs  too 
conventional  to  furnish  a  clew  to  the  original  animal  forms,  yet 
still  suggesting  their  existence,  to  those  in  which  the  life  forms  can 
be  traced  with  ease  or  in  which  they  are  delineated  with  a  much 
nearer  approach  to  nature.  The  manner  of  introducing  life  forms 
into  the  panels  of  the  encircling  zones  is  illustrated  in  the  following 
figures.  In  the  vase  shown  in  Fig.  170  there  are  four  panels,  two 


Km.  1™.  .  Fio.  1TN. 

Portions  of  decorated  /.ones  illustrating  treatment  of  lift-  forms. 

short  and  two  long,  separated  by  vertical  bands.  The  short  panels 
are  black,  but  the  long  ones  are  occupied  by  rudely  drawn  figures  of 
alligators,  some  of  which  are  very  curiously  abbreviated.  At  the 
right  hand  in  the  cut  we  have  simply  the  head  with  its  strong  re 
curved  jaws  and  notched  crest.  The  principal  figure  at  the  left  is  a 
two  headed  alligator,  the  body  being  straight  and  supplied  with  two 
feet.  The  ground  finish  of  the  decorated  hand  is  in  the  light  gray 
tint  and  the  alligator  figures  and  vertical  septa  now  appear  in  that 


Fio.  179.  Vase  decorated  with  highly  conventional  life  forms  — J. 

color.  The  ground  of  the  remainder  of  the  surface  is  red.  It  will 
be  seen  that  in  this  case  the  panel  outlines  are  rather  elaborate  and 
that  the  neck  and  base  are  striped  in  a  way  to  enhance  considerably 
the  beauty  of  the  vessel.  Additional  examples  of  animal  devices  are 
given  in  Figs.  177  and  178.  The  significance  of  the  curious  figure 


122 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


seen  in  the  first  is  not  easily  determined,  although  we  do  not  hesitate 
to  assign  to  it  an  animal  origin.  There  is  a  suggestion  of  two  sitting 
figures  placed  back  to  back  between  the  upright  serrate  lines.  In  the 
second  piece, which  is  from  another  vessel,  the  space  between  the  ser 
rate  lines  is  occupied  by  a  sketchy  figure  which,  in  the  phraseology 
of  heraldry,  may  be  likened  to  a  monkey  rampant. 


Ym.  179».  Design  from  vase  shown  in  Kig.  170. 


In  Figs.  170  and  ISO  I  present  very  interesting  examples  in  which 
the  arched  panels  are  used.  In  the  fir?t  the  compartments  are  occu 
pied  by  a  favorite  Chiriquian  motive,  which  consists  of  groups  of 


Fin.  180.  Vase  decorated  with  highly  conventional  life  forms  —  J. 

lines  curled  up  at  one  end  like  unfolding  fronds.  The  whole  group 
represents  a  very  highly  conventionalized  animal  figure  (Fig.  179a). 
The  devices  occupying  the  upright  panels  take  the  place  of  the  ani 
mal  heads  shown  in  several  preceding  figures.  In  the  arched  panels 
shown  in  Fig.  180  we  have  the  frond-like  motive  treated  in  a  man- 


HOLMES.)  VASES   DECORATED    WITH    LIFE    FORMS.  123 

ner  to  make  it  pretty  certain  that  a  reptilian  form  is  intended.  These 
figures  are  fully  and  systematically  presented  in  a  succeeding  section. 
Many  of  these  globular  vases  are  unusually  handsome.  The  pol 
ished  ground  is  red  or  is  varied  with  stripes  or  panels  of  the  whitish 
slip.  Over  this  ground  the  whole  surface  was  painted  black  and  then 
the  lost  color  was  employed  to  work  out  the  design.  The  coiled 
figures  were  produced  by  drawing  the  lines  in  the  lost  color.  Tin- 
interspaces  were  then  roughly  gone  over  with  the  same  pigment  in 
such  a  way  as  to  leave  the  figures  inclosed  within  rather  uneven  black 
borders.  The  presentation  of  these  ornaments  brings  me  naturally  to 
the  consideration  of  a  number  of  very  puzzling  forms  which,  if  taken 
alone,  must  inevitably  be  referred  to  vegetal  originals.  In  Fig. 
181  we  have  a  handsomely  shaped  vessel,  finished  in  a  polished  red 
ground  and  decorated  in  the  usual  manner.  In  the  main  zone  —  here 


FIQ.  181.  Vase  decorated  with  highly  conventional  life  forms  — J. 

rather  high  up  on  the  vase  —  there  is  a  series  of  upright  figures  re 
sembling  stalks  or  stems  with  scroll-like  branches  springing  from  the 
sides.  The  stalks  are  probably  the  septa  of  the  panels  and  the  leaves 
are  the  usual  reptilian  symbols.  About  the  widest  part  of  the  body 
of  the  vase  is  a  band  of  ornament  probably  representing  an  animal. 
A  still  more  remarkable  ornament  is  shown  in  Fig.  182.  The  dec 
orated  zone  of  the  vessel  from  which  this  is  taken  is  divided  into  three 
panels,  each  of  which  contains  stem-like  figures  terminating  in  flower 
shaped  heads  and  uniting  in  a  most  remarkable  way  animal  deriva 
tives  and  vegetal  forms.  I  am  inclined  to  the  view  that  here,  as  in 


124 


ANCIENT   ART   OP   THE    PROVINCE   OF   CHIRIQUI. 


the  preceding  case,  the  resemblance  to  a  vegetal  growth  is  pi;rely 
adventitious. 


FIG.  IBS.  Decorated  panel  \vith  devices  resembling  vegetal  growths,  hut  probably  of  animal  origin  —  1. 

In  striking  contrast  with  the  globular  forms  just  given  are  the 
angular  outlines  presented  in  the  following  illustrations.  The  first  is 
flattened  above,  the  body  being  much  expanded  horizontally  and 


Flo.  18.}.  Example  of  vase  of   inn  in  I  shape—} 


FIG.  184.  FIQ.  185. 

Examples  of  vases  of  unusual  shapes  —  J. 

having  a  sharp  peripheral  angle.     Upon  the  shoulder,  occupying  the 
places  of  and  probably  standing  fen-  animal  heads,  are  two  cruciform 


VASES   OF   UNUSUAL   SHAI'KS. 


125 


nodes,  about  whicli  the  scroll-like  decorations  of  the  upper  surf  we  are 
coiled.  We  see  by  this  that  in  the  mind  of  the  potter  a  correlation 
existed  between  the  plastic  and  \  he  painted  devices  even  in  these  con 
ventional  decorations.  The  second  illustration  represents  a  neatly 
finished  bottle,  with  iipright  sides  and  conical  base,  upon  the  shoulder 
of  which  minute  animal  figures  are  perched.  The  painted  design  is 
nearly  obliterated.  The  third  example  is  unique.  The  sides  are  up 
right  and  the  bottom  is  flat.  The  ornament  occupies  the  entire  sur 
face  and  is  divided  into  two  sections  or  zones  by  a  red  band  about  the 
middle. 

Complex  and  compound  forms  are  comparatively  rare.     A  double 
vessel  is  shown  in  Fig.  ISO,  and  a  second,  varying  somewhat  from  the 


Fio.  Wi.  Double  vc> 


firsl  ill  shape  and  ornamentation,  is  presented  iii  t  he  succeeding  figure. 
Vessels  of  this  form  are  always  small,  but  are  neatly  constructed  and 
finished  with  much  care.  The  strong  handles  are  more  or  less  arched 
and  connect  the  inner  margins  of  the  two  lips.  The  bodies  of  the  twin 
cups  are  closely  joined,  but  the  two  compartments  are  not  connected. 


FIG.  1HT.  Double  vessel  with  nivlied  liamllp  —  J. 


It  seems  impossible  to  present  a  satisfactory  series  of  the  plastic 
features  characteristic  of  this  group  of  products  without  extending 
this  paper  inordinately.  Handles,  legs,  and  life  forms  are  varied  and 
interesting;  they  are  not  so  boldly  treated,  however,  as  in  some  of  the 


l'J(j  ANCIENT   ART   OF    THE    PROVINCE   OK   CHIRIQl'l. 

other  groups.  This  is  a  result  perhaps  of  the  unusual  degree  of  pol 
ish  given  to  all  parts  of  the  surface  preparatory  to  the  application 
of  designs  in  color,  the  processes  tending  to  subdue  and  simplify 
the  salient  features. 

With  reference  to  life  forms  it  has  already  been  pointed  o\ii  that 
the  painted  figures  generally  imitate  or  typify  animal  forms,  and  it 
is  important  to  note  that  these  figures  are  in  very  many  cases  used 
as  auxiliaries  to  plastic  features  in  the  development  of  particular 
conceptions.  This  is  shown  to  advantage  in  Fig.  188,  which  illus 
trates  a  small,  well  formed  bottle,  having  two  large  human-like  heads 
attached  to  opposite  sides  of  the  body.  There  are  no  other  plastic 
features,  but  the  heads  are  supplied  with  arms  and  legs,  rudely  ex 
pressed  in  black  lines,  which  are  really  the  interspaces  of  the  lines 
drawn  in  the  lost  color.  These  painted  parts  occupy  the  zone  usually 
devoted  to  decoration  and,  as  will  be  seen  by  reference  to  the  cut,  re 
semble  closely  the  radiate  or  meandered  figures  seen  in  vases  of  the 
class  shown  in  Fig.  1(57.  The  arms  are  joined  to  the  lower  part  of 
the  head  and  extend  upward  to  the  neck  of  the  vessel,  where  they 
terminate  in  rudely  suggested  fingers.  Rising  to  the  right  and  left 
of  the  firms  are  legs  terminating  as  do  the  arms.  A  double  row  of 
dots  is  carried  along  each  member,  and  thus  we  have  a  suggestion  of 


FIG.  188.  Vase  embellished  with  life  forms,  he-ads  in  relief  and  other  parts  in  color — j. 

the  relation  of  the  dots  and  dotted  lines,  seen  in  more  highly  con 
ventional  forms,  to  the  markings  of  the  creature  represented  or  sym 
bolized.  The  grotesque  faces  are  covered  with  lines  which  follow  the 
forms  as  if  imitating  markings  upon  the  skin.  Another  example, 
equally  suggestive,  also  employing  an  animal  form,  is  shown  in  Fig. 
181).  It  is  a  cup.  mounted  upon  three  feet,  which  has  attached  to 
one  side  the  head  of  a  peccary,  modeled  with  more  than  usual  skill. 
The  ears  of  the  animal  appear  at  the  sides  of  the  vessel  and  the 
tail  is  opposite  the  head.  The  lines  and  dots  seen  upon  the  head 
are  carried  along  the  sides  of  the  vessel  as  far  as  the  ears  and  uii- 


HOLMES.)       1'AINTKI)    FIUURK8   Al'XIUAKY    TO    PLASTIC    FEATUKKS.       127 

doubtedly  represent  the  markings  of  the  animal's  skin.  Behind  tho 
ears  the  markings  are  different  in  character  and  purely  geometric. 
A  view  of  the  under  side  of  the  vessel  is  shown  in  Fig.  1!)0  and  illus- 


FIG.  189.  Vast-  modeled  to  represent  a  peccary  —  j. 


Fir,.  1!H).  Under  surface  of  vast1  shown  in  Ki^.  1KO. 


trates  a  treatment  characteristic  of  the  tripod  vases  of  this  class.     In 
other  cases,  instead  of  fixing  the  head  of  the  animal  upon  one  side 


Via.  191.  Small  vessel  with  human  figures  in  hitfh  relief  and  jreo?netrii-  color  decoration — *. 


128 


ANCIENT   AKT   OF   THE    PROVINCE   OF    CHIR1QUI. 


and  other  members  of  the  body  upon  other  sides,  l\vo  heads,  or  two 
complete  creatures,  are  placed  opposite  each  other. 

I  present  next  (Fig.  11)1)  a  piece  in  which  there  is  no  recognizable 
relationship  between  the  painted  and  the  plastic  features.  It  is  a 
small  tripod  cup  with  upright  walls,  upon  which  two  characteristic 
Chiriquian  human  figures,  male  and  female,  are  fixed.  The  painted 
figures  upon  the  sides  of  the  vessel  are  geometric,  but  refer  possibly 
to  some  character  or  attribute  of  the  modeled  figures  or  are  the  sur 
vivals  of  figures  belonging  to  vessels  of  this  shape  or  style  before  the 
life  forms  were  associated  with  them.  The  legs,  however,  so  far  as 
can  be  determined,  are  not  related  to  the  human  motive,  as  they  are 
modeled  and  painted  to  imitate  the  heads  of  alligators. 

I  shall  now  present  a  few  shallow  bowls  or  pans  mounted  upon 
tripods.  They  vary  in  dimensions  from  a  few  inches  in  diameter  to 
a  foot  or  more  and  are  strongly  made,  symmetrically  formed,  and 
neatly  finished.  The  polished  surfaces  are  mainly  red.  The  designs 
were  executed  in  the  usual  way  in  the  lost  color,  upon  a  black  ground, 
and  are  confined  chiefly  to  the  exterior  surface.  The  alligator  is  the 
favorite  motive,  and  in  a  number  of  cases  is  quite  graphically,  al 
though  still  conventionally,  rendered.  As  in  the  preceding  examples, 
the  animal  heads  represented  in  the  legs  do  not  always  correspond 
to  the  creatures  embodied  in  the  painted  decoration. 

In  Fig.  l'.)2  we  have  a  representative  example  of  moderate  size  and 
ordinary  finish.  The  decorated  band  is  divided  into  panels,  three  of 
which  are  long  and  contain  figures  of  the  alligator.  The  other  three 


FICJ.  lit'-?.  Tripod  fiiji,  with  figures  of  the  alligator  —  J. 

are  short  and  are  filled  with  conventional  devices,  related  perhaps  to 
that  animal.  The  legs  are  apparently  intended  to  resemble  the  heads 
of  alligators.  A  large  pi  ace,  nearly  twelve  inches  in  diameter,  is  very 
similar  in  shape  and  decoration,  but  the  legs  resemble  puma  heads. 


VASKS    OK    TIIK,    LOST    COLOR    GROUP. 


The  specimen  shown  in  Fig.  103  is  extremely  well  made  and  differs 
decidedly  from  the  preceding.  The  sides  are  upright  and  the  lip  is 
recurved  and  thick.  The  legs  represent  some  animal  form  with 
thick  body,  eyes  at  the  top,  and  a  tail-like  appendage  below  that 
turns  up  and  connects  with  the  side  of  the  body.  The  form  of  the 
bowl  is  symmetrical  and  the  surface  carefully  finished  and  polished. 
The  exterior  design  is  divided  into  panels,  as  in  the  preceding  case; 
the  figures  are  simple  and  geometric.  The  inside  of  the  upright  por- 
lion  of  the  wall  is  decorated  with  vertical  lines  and  bands  and  the 
bottom  is  covered  with  an  octopus-like  figure,  now  partially  obliter 
ated. 


FIG.  193.  I^argce  shallow  tripoti  vase,  witli  isometric  decoration  —  A. 

The  remarkable  example  shown  in  Fig.  1!»4  illustrates  a  number 
of  the  points  suggested  in  the  preceding  pages.  It  is  a  large  bottle 
of  the  usual  contour  and  color,  mounted  upon  three  high  legs', 
which  are  slit  on  the  inner  surface  and  contain  movable  balls  of 
clay.  Two  handles,  placed  at  opposite  sides  of  the  neck,  represent 
human  or  anthropomorphic  figures.  These  figures  and  the  neck  and 
base  of  the  vessel  were  finished  in  the  red  slip.  The  broad  zone  ex 
tending  from  the  neck  to  some  distance  below  the  periphery  was  fin 
ished  in  the  gray  slip,  with  the  exception  of  the  frames  of  two  panels 
beneath  the  handles  and  the  foundation  lines  of  two  large  figures  of 
alligators,  which  are  in  red.  The  surface,  when  thus  treated,  was 
well  polished  and  then  a  coat  of  black  was  laid  upon  it.  and  iipon  this 
details  of  the  designs  were  drawn  in  the  lost  color.  The  figures  of 
the  alligators  exhibit  some  striking  peculiarities.  The  hooked  snout, 
the  hanging  jaw.  the  row  of  dotted  notches  extending  along  the  back, 
and  especially  the  general  curve  of  the  body  are  worthy  of  atten- 
G  ETH 9 


130 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


tion.     These  features  are  seen  to  better  advantage  in  the  series  of 
vases  presented  in  the  following  section. 

Belonging  to  this  group  are  many  whistles,  needlecases,  and  rattles, 
all  of  which  are  described  under  separate  headings  upon  subsequent 
pages. 


FIG.  194.  T,arg"  bottle  shaped  vase,  with  high  tripod  and  alligator  designs  -J. 

The  alligator  group. — The  group  of  ware  to  which  I  give  the  above 
name  is  perhaps  the  most  interesting  in  the  collection,  although 
numerically  inferior  to  some  of  those  already  presented.  Its  deco 
ration  is  of  a  very  striking  character  and  may  serve  to  throw  much 
light  upon  the  origin  and  evolution  of  certain  linear  devices,  as  it  il 
lustrates  with  more  than  usual  clearness  the  processes  of  modification. 

I  will  first  present  a  representative  series  of  the  vessels,  in  order  that 
they  may  in  a  measure  tell  their  own  story ;  yet  it  is  not  possible  with- 


imiMKs.]  ALLIGATOR   GROUP   OF   WARE. 

out  the  direct  aid  of  a  full  series  of  the  objects  themselves  to  convey 
a  clear  and  comprehensive  notion  of  the  metamorphoses  through 
which  the  forms  and  decorations  pass. 

This  group,  like  that  last  described,  is  composed  chiefly  of  bottle 
shaped  vases  with  globular  bodies  and  short,  wide  necks;  but  there  is 
no  danger  of  confusion.  By  placing  a  series  from  each  group  side  by 
side  a  number  of  marked  differences  may  be  noted.  In  the  lost  color 
group  the  neck  is  decided  in  form,  the  body  is  usually  somewhat  flat 
tened  above  and  is  distinctly  conical  below,  and  the  prevailing  color 
is  a  rich  dark  red.  In  the  alligator  group  the  body  is  more  nearly 
globular  and  the  curves  of  the  whole  outline  are  more  gentle ;  the 
prevailing  color  is  a  light  yellowish  gray.  The  reds  and  the  blacks, 
which  are  used  chiefly  in  the  figures,  are  confined  to  rather  limited 
areas. 

Besides  the  bottle  shaped  vases,  there  is  a  limited  series  of  the 
usual  forms,  and  a  few  pieces  exhibit  unique  features.  The  manage 
ment  of  life  forms  is  especially  instructive.  Handles  are  rare  and 
legs  are  usually  not  of  especial  interest,  as  they  are  plain  cones  or  at 
most  but  rude  imitations  of  the  legs  of  animals.  Shallow  vessels 
are  invariably  mounted  upon  tripods  and  a  few  of  the  deeper  forms 
are  so  equipped.  Usually  the  sizes  are  rather  small;  but  we  occasion 
ally  observe  a  bottle  having  the  capacity  of  a  gallon  or  more.  The 
materials  do  not  differ  greatly  from  those  employed  in  other  groups 
of  ware.  The  paste  is  fine  grained  and  light  in  color,  sometimes 
reddish  near  the  surface,  and  where  quite  thick  is  darker  within  the 
mass.  A  slip  of  light  yellowish  hue  was  in  most  cases  applied  to  the 
entire  surface.  A  red  ochery  pigment  was  in  some  instances  used  in 
finishing  the  lip  and  the  base  of  the  body,  and  occasionally  the  red 
pigment  was  applied  as  a  base,  a  kind  of  sketch  foundation  for  the 
decoration  proper.  For  example,  when  the  alligator  was  to  appear 
upon  the  side  of  the  vessel,  the  principal  forms  were  traced  in  broad 
lines  of  the  red  color,  and  these  were  polished  down  with  the  slips 
When  the  polishing  process  was  complete,  the  details  of  the  figure, 
were  drawn  in  black  and- in  cases  partially  in  red.  Black  was  the 
chief  delineating  color,  the  red  having  been  confined  to  broad  areas, 
to  outlines,  and  to  the  enframing  of  panels.  In  execution,  therefore, 
there  is  a  decided  contrast  with  the  preceding  group,  and  it  may  be 
added  that  there  is  an  equally  strong  contrast  in  both  treatment  and 
subject  matter  of  the  ornament.  The  motives  are  derived  almost 
wholly  from  life  forms  and  retain  for  the  most  part  features  that  sug 
gest  their  origin.  The  subjects  are  chiefly  reptilian,  the  alligator 
appearing  in  a  majority  of  cases,  and  hence  the  name  of  the  group. 

I  present  first  a  few  examplesof  plain  bottles  which  have  no  extrane 
ous  plastic  features.  The  decorations  are  arranged  in  two  ways,  in 
zones  about  the  upper  part  of  the  body  or  in  circular  areas,  generally 
four  in  number,  equidistantly  placed  about  the  shoulder  of  the  vessel. 


132 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIEIQUI. 


Aii  example  of  the  first  style  is  given  in  Fig.  l!»o,  which  represents  the 
largest  piece  in  this  group  of  ware.  The  form  is  symmetrical  and 
very  pleasing  to  the  eye.  The  surface  is  not  very  highly  polished  and 
shows  the  marks  of  the  polishing  implement  distinctly  over  the  entire 
surface.  Two  black  lines  encircle  the  flat  upper  surface  of  the  rim 
and  the  outer  margin  is  red.  The  neck  and  a  narrow  zone  at  the  up 
per  part  of  the  body  are  finished  in  a  cream  colored  slip  and  the  body 
below  this  is  red.  The  narrow  band  of  ornament  occupies  the  lower 
margin  of  the  light  colored  zone  and  consists  of  five  encircling  lines 
in  black,  three  of  which  are  above  and  two  below  a  band  one-half  an 
inch  wide,  in  which  five  much  simplified  figures  of  alligators  are 
drawn.  Besides  these  figures  there  are  two  vertical  septum-like  bands. 


FIG.  195.  Large  bottle,  with  narrow  zone  containing  figures  of  the  alligator  —  J. 


Each  of  these  consists  of  three  lines  bordered  by  dots,  which  proba 
bly  have  some  relationship  with  the  alligator.  The  decorated  zone  of 
these  vessels  is  divided  in  various  ways  into  panels,  some  of  which  are 
triangular,  while  others  are  rectangular  or  arched.  The  latter  form 
is  seen  in  Fig.  1!)G.  Five  arches,  having  no  border  line  above,  are 
occupied  by  abbreviated  alligator  devices.  The  number  of  compart- 


VASES    OF   THE    ALLIGATOR   GROUP. 


133 


ments  ranges  in  other  specimens  from  two  to  a  dozen  or  more.     They 
are  filled  in  with  various  devices,  to  be  described  in  detail  further  on. 


FIG.  litO.  Vase  \vith  decorated  zone  containing  four  arched  panels  —  J. 

A  very  peculiar  form  of  decoration  consists  of  circular  or  rosette- 
like  ornaments,  such  as  are  shown  in  Fig.  1!)7.  Four  slightly  relieved 
nodes  an  inch  or  more  in  diameter  are  placed  upon  the  shoulder  of  the 
vessel.  These  are  encircled  bv  red  lines  which  inclose  two  black  lines 


FIG.  197.  Vase  with  four  round  nodes  ninm  which  animal  devices  are  painted  —  \. 


134 


ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQVI. 


each,  and  within  these  are  peculiar  devices  in  black.  Other  vessels 
furnish  figxires  of  greatly  diversified  characters,  most  of  which  evi 
dently  refer  to  life  forms.  A  full  series  of  these  is  given  in  a  subse 
quent  section  of  this  paper,  where  the  origin  of  the  nodes  and  the 
manner  in  which  the  painted  figures  probably  became  associated  with 
them  will  be  fully  set  forth. 

In  the  series  of  outlines  presented  in  Fig.  11)8,  we  have  some  of  the 
varieties  of  form  and  decoration  of  both  the  ordinary  bottles  and  the 
plainer  tripod  cups.  Each  example  presents  certain  features  of  par 
ticular  interest.  The  handsome  little  bottle  (d)  with  the  plastic  orna 
ment  about  the  neck  and  the  zone  of  geometric  ornament  in  black  and 
red  lines  is  unique.  The  double  necked  bottle  is  an  unusual  form  and 


FIG.  1!)H.  Vases  of  varied  form  and  decoration. 

its  decoration  consists  of  a  strangely  conceived  representation  of  the 
alligator.  The  tripod  vases  are  worthy  of  close  attention:  the  piece 
illustrated  in  b  has  a  zone  of  ornament  separated  into  three  parts  by 
vertical  spaces,  each  part  being  enframed  in  black.  The  sections  are 
divided  by  red  lines  into  three  panels,  each  of  which  contains  a  con 
ventional  figure  of  an  alligator  in  black.  The  piece  shown  in  a  is 
unique  in  its  decoration.  Four  angular  fret  links  in  black  are  in 
closed  in  as  many  panels,  bordered  by  red  and  separated  by  blank 
spaces.  These  fret  links,  as  I  shall  show  further  on,  probably  refer 
to  or  symbolize  the  alligator.  The  legs  of  the  cups  are  all  conical 
and  are  marked  with  short  transverse  lines  in  black,  which  have  a 
direct  reference  to  the  markings  of  the  animal  to  which  the  vase  was 
consecrated.  A  careful  study  of  the  preceding  illustrations  leads  to 


HOLMKS.l 


VASES  OP  THE  ALLIGATOR  GROUP. 


135 


the  conclusion  that  in  the  mind  of  the  potters  there  was  a  close  and 
important  relationship  between  the  vessel  and  the  reptilian  forms 
embodied  in  both  plastic  and  surface  embellishment.  The  series  of 
examples  which  follow  have  a  bearing  upon  this  point.  I  shall  begin 
with  that  in  which  the  creature  is  most  literally  rendered. 

In  Fig.  199  the  whole  conformation  of  the  vessel  is  considerably 
modified  through  the  attempt  to  perfect  the  likeness  of  the  alligator, 
whose  head,  tail,  and  legs  are  graphically  rendered.  The  body,  head, 
and  tail  are  covered  with  nodes,  each  of  which  is  encircled  by  a  black 
ring  and  has  a  black  dot  upon  the  apex.  Dotted  rings  and  short  strokes 
of  black  occupy  the  interspaces.  These  devices  represent  the  spines 


FIG.  199.  Alligator  vase,  with  conventional  markings 


FIG.  200.   Alligator  vase,  with  conventional  figures  of  the  alligator  painted  on  the  sides  —  {. 

and  scales  of  the  creature's  skin.    The  legs  are  marked  with  horizontal 
stripes  and  oval  spaces  at  the  top  inclose  three  dots  each.     The  gen- 


130  ANCIENT    ART    OF    THE    PROVINCE    OF   CHIRIQUI. 

eral  color  of  the  vessel  is  a  dark  brown.     This  piece  should  be  com 
pared  with  the  alligator  whistle  shown  in  Fig.  250. 

A  somewhat  different  treatment  is  shown  in  Fig.  200.  Here  the 
animal  form  has  undergone  considerable  modification.  There  are  but 
three  legs  —  a  concession  to  the  conventional  tripod  —  and  the  body 
exhibits,  instead  of  the  nodes  and  the  markings  of  the  creature's  skin, 
two  conventional  drawings  of  the  whole  animal.  Now,  by  higher  and 
higher  degrees  of  convention,  we  come  to  a  long  series  of  modified 
results  which  must  be  omitted  for  want  of  room.  We  find  that  the 
plastic  features  are  gradually  reduced  until  men?  nodes  appear  where 
the  head  and  the  tail  should  be,  and  finally  in  the  lower  forms  there 
remains  but  a  blank  panel  or  a  painted  device,  as  already  shown  in  a 
preceding  section.  The  painted  devices  are  also  reduced  by  degrees 
until  all  resemblance  to  nature  is  lost  and  geometric  devices  alone 


Fin.  301.  Vase  having  the  head  and  tail  of  a  serpent  projecting  from  opposite  sides  of  the  body  and 
connected  by  a  meandered  design  which  stands  for  the  markings  of  the  body — J. 

remain.  I  observe  in  this  association  of  plastic  and  painted  features 
a  lack  of  the  perfect  consistency  I  had  learned  to  expect  in  the  work 
of  primitive  peoples.  It  is  easy  to  see  how,  from  painting  the  mark 
ings  of  the  creature's  skin  upon  the  body  of  the  vessel,  the  painter 
should  come  gradually  to  delineate  parts  of  the  creature  or  even  the 
whole  creature,  but  we  should  not  expect  him  to  paint  a  creature 
distinct  in  kind  from  that  modeled,  thus  confusing  or  entirely  sepa 
rating  the  conceptions;  this  has  been  done,  apparently,  in  the  vase 
illustrated  in  Fig.  202,  where  the  plastic  form  represents  a  puma  and 
the  painting  upon  the  sides  seems  intended  for  an  alligator.  It  will 
lie  seen  from  the  figures  given  that  the  devices  of  the  panels  or  sides 
do  not  necessarily  represent  the  markings  of  the  animal's  body,  as  in 
Fig.  201,  but  that  they  may  refer  to  the  entire  creature  (Fig.  200)  or 
even  to  what  appears  to  be  a  totally  distinct  creatiire  (Fig.  202). 

If  realistic  or  semirealistic  delineations  are  confused  in  this  way 
it  is  to  be  expected  that  highly  conventional  derivative  figures,  so 
numerous  and  varied,  should  be  much  less  clearly  distinguished;  that 
indeed  there  should  be  no  certainty  whatever  in  the  reference  to  orig 
inals.  It  is  difficult  to  say  of  any  particular  conventional  device 


VASES  OF  THE  ALLIGATOR  GROUP. 


137 


that  it  originated  in  the  figure  of  the  animal  as  a  whole  rather  than 
in  some  part  or  character  of  that  animal  or  of  some  other  animal. 

A  very  instructive  example  bearing  upon  this  subject  is  shown  in 
Fig.  ~0'5.    Attached  to  one  side  of  the  basin  is  a  pendent  head  resem- 


FIG.  SJ02.  Va.se  representing  a  puma,  with  figures  of  the  alligator  painted  upon  the  sides  —  J. 

1)1  ing  that  of  a  serpent  or  a  turtle.     A  kind  of  hood  overhangs  the 
head  and  extends  in  a  ridge  around  the  sides  of  the  vessel,  connect- 


Fm.  303.  Shallow  vase  with  reptilian  features  in  the  round  and  designs  in  red  and  black  representing 
the  markings  of  the  creature's  body  —  \. 

ing  with  the  tail  of  the  creature,  which  is  also  pendent  and  hooded. 
Four  legs  support  the  vessel  and  are  marked  with  transverse  stripes 
of  red  and  black  paint.  The  upper  surface  of  the  head  is  covered 
with  reticulated  lines  in  black,  and  bands  of  conventional  ornament 
in  the  same  color  extend  around  the  sides  of  the  vessel,  uniting  the 
head  with  the  tail  of  the  animal.  A  single  band  of  ornament  passes 
beneath  the  body,  also  connecting  those  members.  It  is  plain  that 
these  painted  bauds  serve  to  complete  the  representation  of  the  reptile. 


ANCIENT    ART    OF   THE   PROVINCE   OF   CHIRIQUI. 


But,  as  I  have  just  shown,  they  are  as  likely  to  stand  for  the  whole 
creature  or  to  be  the  abbreviated  representative  of  the  whole  creature 
as  to  represent  merely  the  markings  of  the  body.  These  devices,  as 
arranged  in  the  zone,  resemble  in  a  remarkable  degree  the  conven 
tional  running  scroll. 

I  have  but  one  more  example  of  the  alligator  vases  to  present,  but 
it  is  perhaps  the  most  remarkable  piece  in  the  collection  (Fig.  5204). 


FIG.  204.  Vase  with  funnel  shaped  mouth  and  square  body,  supported  by  two  grotesque  figures  and 
decorated  with  figures  of  alligators  and  monkeys—  j. 

It  illustrates  to  good  advantage  both  the  skill  and  the  strange  fancy 
of  these  archaic  potters.  A  large  vase,  having  a  high  flaring  rim  and 
a  subcubical  body,  is  supported  by  two  grotesque  human  appearing 
figures,  whose  backs  are  set  against  opposite  ends  of  the  vessel.  The 
legs  are  placed  wide  apart,  thus  affording  a  firm  support.  The  heads 
of  the  two  figures  project  forward  from  the  shoulder  of  the  vase  and 
are  flattened  in  such  a  way  as  to  give  long  oval  outlines  to  the  crowns 


VASES   OF   THE   ALLIGATOR   GROl.'P. 


139 


which  are  truncated  and  furnished  with  long  slit-like  openings 
that  connect  through  the  head  with  the  main  chamber  of  the  vessel. 
The  openings  are  about  two  and  a  half  inches  long  and  one-eighth 
of  an  inch  wide  and  are  surrounded  by  a  shallow  channel  in  the 
flat,  well  polished  upper  surface.  The  extraordinary  conformation 
of  this  part  of  the  vessel  recalls  the  well  known  whistling  vases  of 
South  America;  but  this  piece  is  too  badly  broken  to  admit  of  ex 
periment  to  test  its  powers.  It  is  generally  likened  to  a  money  box. 
In  order  to  convey  a  clear  conception  of  the  shape  of  the  upper  sur 
face,  I  present  a  top  view  of  the  vessel  (Fig.  205). 

A  front  view  of  one  of  the  supporting  figures  is  shown  in  Fig.  200. 
Although  certainly  not  intended  to  represent  a  human  figure  with 
accuracy,  it  is  furnished  with  a  crown,  as  are  the  figures  in  gold  and 
stone,  and  is  covered  with  devices  that  seem  to  refer  to  costume.  The 
features  are  extremely  grotesque,  the  nose  resembling  the  beak  of  a 


Fio.  205.  Top  view  of  vase  in  Fig.  2(14.  FIG.  2(Hi.  End  view  of  vase  in  Fig.  204.  show- 

showing  tlie  main  orifice  ami  the  ob-  ing  front  view  of  grotesque  figure.    The  red 

long  openings.  portions  of  the  painted  figures  are  outlined 

with  dots. 

bird  and  the  mouth  being  a  mere  ridge,  without  indications  of  the 
lips.  The  face  and  the  chest  are  painted  with  curious  devices  in  red. 
The  funnel  and  body  of  the  vase  are  decorated  with  subjects  that  seem 
to  have  no  connection  with  the  plastic  features  and  no  relation  to  one 
another  in  subject  matter.  The  upper  panel,  surrounded  by  a  frame 
work  of  black  and  red  lines,  contains  the  figure  of  an  alligator  much 
simplified  and  taking  a  peculiar  position  on  account  of  the  shape  of 
the  space  into  which  it  is  crowded.  The  figure  occupying  the  body 
panel  is  that  of  a  very  strangely  conventionalized  two  tailed  monkey 
and  is  enframed  by  a  wide  red  line.  On  the  shoulder  of  the  vessel 
is  an  ornament  consisting  of  a  number  of  angular  hooks  attached 
to  a  straight  line.  The  effect  is  like  that  of  fretwork,  but  the  figure 
is  probably  derived  from  a  modified  animal  form.  The  paste  of  this 


140 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


vase  is  sandy  and  is  reddish  gray  near  the  surface  and  quite  dark 
within  the  mass.  The  modeling  is  thoroughly  well  done,  and  the  sur 
face,  which  is  of  a  somber,  yellowish  gray  tint,  is  highly  polished. 
The  figures  are  drawn  chiefly  in  black,  red  being  confined  to  broad 
lines  and  areas.  De  Zeltner  published  photographic  illustrations  of 
a  similar  vase  with  his  pamphlet  on  the  graves  of  Chiriqui.  That 
specimen  is  now.  I  believe,  in  the  hands  of  Prof.  ().  C.  Marsh,  of 
New  Haven.  It  corresponds  very  closely  in  nearly  every  respect 
with  the  example  here  described. 

The  poll/chrome  group. — The  National  Museum  collection  contains 
but  three  examples  of  this  most  aitistic  of  the  wares  of  Chiriqui.  Its 
claim  to  superiority  rests  upon  a  certain  boldness  and  refinement  of 
execution,  combined  with  nobleness  of  outline  and  a  type  of  design 
much  in  advance  of  other  isthmian  decoration.  It  is  probably  most 
nearly  allied  to  the  ware  of  the  alligator  group,  and  it  possesses  some 
of  the  characteristics  of  the  best  Central  American  work.  Unlike 


Flo.  3l>7.  Iji 


•il  mill  black  — J. 


the  other  wares  of  Chiriqui,  this  pottery  has  a  bright  salmon  red 
paste  and  the  slip  proper  is  a  delicate  shade  of  the  same  color.  In 
nearly  all  cases  undecorated  portions  of  the  surface  are  finished  in 


HDI.MKS.] 


VASKS    OK    THK    POLYCHROME    GROUP. 


141 


red,  which  appears  to  have  been  polished  down  as  a  slip.  The  designs 
are  in  th  roe  colors  —  black,  a  strong  rod,  and  a  fine  gray  purple — which. 
in  combination  with  the  bright  reddish  ground,  give  a  very  rich 
effect.  The  first  example,  shown  in  Fig.  207,  is  a  large,  nearly 
symmetrical  bottle  with  a  short  neck  and  a  thick,  flaring  lip.  The 
inner  surface  of  the  orifice  and  the  lower  half  of  the  body  are  finished 
in  red  and  the  neck  and  shoulder  in  the  salmon  colored  slip.  A  wide 
zone  of  ornament  encircles  the  upper  surface  of  the  body.  The  de 
signs  are  executed  with  great  skill  in  red  and  black  colors  and  include 
two  highly  conventional  figures,  probably  of  reptilian  origin.  The 
manner  of  their  introduction  into  the  zone  is  shown  in  Fig.  208.  The 


FIG.  'JOS.  Devices  of  the  decorated  zone  of  vase  shown  in  Kig.  207. 

oval  faces  are  placed  on  opposite  sides,  taking  the  positions  usually 
occupied  by  modeled  heads.  Each  face  is  supplemented  by  a  pair  of 
arms  which  terminate  in  curiously  conventional  hands,  and  the  two 
caudal  appendages  are  placed  midway  between  the  faces,  filling  tri 
angular  areas.  The  body  of  the  vase  serves  as  a  body  for  both 
creatures.  In  the  illustration,  the  red  of  the  design,  which  is  carried 
over  all  of  one  face  save  the  eyes  and  mouth  and  serves  to  emphasize 
the  features  of  the  other  face,  is  indicated  in  vertical  tint  lines  and  the 
black  is  given  in  solid  color.  This  vase  is  twelve  inches  in  height. 


142 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


A  second  example,  illustrated  in  Fig.  209,  is  a  fine  piece  of  some 
what  unusual  shape.  The  orifice  is  trumpet  shaped  and  rather  too 
wide  for  good  proportion.  The  body  is  flattened  above  and  conical 
below  and  is  supported  by  a  rather  meager  annular  foot.  The  paste 


FIG.  20Ti.  Handsome  vase  with  four  handles  and  decorations  in  black,  red,  and  purple  — J. 

is  of  a  light  brick  red  color,  and  the  slip,  as  seen  in  the  grcmnd  of 
the  decorated  belt,  is  a  pale  gray  orange.  Undecorated  portions  of 
the  surface  are  painted  red.  The  ornamented  zone  is  interrupted  by 
two  pairs  of  handle-like  appendages  set  upon  the  outer  part  of  the 
shoulder.  These  projections  may  possibly  have  served  as  handles,  as 
they  are  perforated  both  horizontally  and  vertically,  but  they  are 
at  the  same  time  undoubtedly  conventionalized  animal  forms,  the 
creature  being  represented  by  the  four  flattened,  transversely  marked 
arms  or  rays  and  an  eye-like  device  painted  upon  the  top  of  each  figure. 
The  painted  devices  are  seen  in  plan  in  Fig.  210,  where  the  relations  of 
the  relieved  features  to  the  zone  of  painted  decoration  are  clearly 
shown.  This  zone  is  divided  into  panels  of  unequal  dimensions,  and 
within  these  a  number  of  extraordinary  devices  are  drawn  in  three 
colors,  red,  black,  and  purple.  These  are  distinguished  in  the  plan  by 
peculiar  tint  lines.  The  designs  are  of  such  a  character  as  to  leave  little 
doxxbt  that  they  are  ideographic,  although  at  present  it  is  impossible  to 
guess  the  nature  of  the  associated  ideas.  The  annular  foot  observed 
in  this  specimen  illustrates  the  first  step  in  the  development  of  a 
feature  the  final  stage  of  which  is  shown  in  Fig.  211.  The  latter 


VASES   OF   THE   POLYCHROME    OROUP. 


143 


shape  is  such  as  would  result  from  inverting  the  preceding  form,  re 
moving  the  conical  base  of  the  body,  and  using  the  funnel  shaped 
orifice  as  a  stand.  This  highly  developed  shape  implies  a  long  prac- 


Fio.  210.  The  painted  designs  of  vase  in  Fiji.  209  viewed  from  above. 

tice  of  the  art.  The  form  is  a  usual  one  in  Mexico  and  in  Central 
America.  The  bowl  is  shallow  and  is  set  gracefully  upon  the  stand, 
the  whole  shape  closely  resembling  simple  conditions  of  the  classic 
kylix.  The  color  of  the  paste  is  a  pale  brick  red  and  that  of  the  slip 
approaches  orange.  The  walls  are  thick  and  even  and  the  surface  is 
very  carefully  polished. 

The  painted  decoration  is  of  unusual  interest.  The  colors  are  so 
rich,  the  execiition  is  so  superior,  and  the  conception  so  strange  that 
we  dwell  upon  it  with  surprise  and  wonder.  The  central  portion  of 
the  bowl  is  occupied  by  what  would  seem  to  represent  a  fish  painted 
in  strong,  firm,  marvelously  turned  lines,  and  in  a  style  of  convention 
wholly  unique.  The  outlines  are  in  black  and  the  spaces  are  filled  in 
with  red  and  purple  or  are  left  in  the  orange  hue  of  the  ground.  An 
idea  of  the  superior  style  of  execution  can  be  gained  from  Fig.  212. 
It  will  be  impossible  to  characterize  the  details  of  the  drawing 
in  words.  The  strange  position  and  shape  of  the  head,  the  oddly 
placed  eyes  and  mouth,  and  the  totally  incomprehensible  treatment 
of  the  body  can  be  appreciated,  however,  by  referring  to  the  illustra 
tion.  A  careful  study  leads  inevitably  to  the  conclusion  that  this 


144 


ANCIENT   ART   OF   THE   PROVINCE   OF   CHIRIQUI. 


was  no  ordinary  decoration,  no  playing  with  lines,  but  a  serious 
working  out  of  a  conception  every  part  of  which  had  its  significance 
or  its  raisoii  d'etre. 


FIG.  311.  Vase  of  unusual  shape,  with  decoration  in  black,  red,  and  purple  -J. 


FIG.  813.  Ornament  occupying  the  interior  surface  of  the  basin  of  vase  shown  in  Fig.  211. 

The  figures  occupying  the  border  zone  of  the  bowl  are  worthy  of 
careful  inspection.     It  will  be  seen  that  the  potter,  even  in  this 


VASES    (IF    THE    POLYCHROME    (iKOUP. 


145 


highly  specialized  condition  of  the  utensil,  has  not  lost  sight  of  the 
conception  that  the  vessel  is  the  body  of  an  animal,  as  we  have  seen 
so  often  in  simpler  forms,  and  that  the  symbols  of  the  creature  should 
appear  upon  it  and  encircle  it.  The  zone  is  divided  into  two  equal 
sections  by  small  knobs,  painted,  as  are  the  handle-like  appendages 
in  the  preceding  specimen,  to  represent  some  animal  feature.  Tho 
lateral  sections  are  occupied  by  eye-like  figures  that  stand  for  the 
markings  of  the  body  of  the  creature  symbolized.  They  really  oc 
cupy  the  spares  left  by  a  continuous  waved  body  or  life  line,  which 
they  serve  to  define.  Devices  of  this  class  are  most  frequently  met 
with  in  connection  with  representations  of  the  alligator.  They  may, 
however,  symbolize  the  serpent,  as  occasionally  seen  in  the  alligator 
group.  Decorative  conceptions  so  remarkable  as  these  could  arise 
only  through  one  channel:  the  channel  of  mythology.  The  super 
stitions  of  men  have  imposed  upon  the  art  a  series  of  conceptions 
fixed  in  character  and  limited  to  especial  positions,  relations,  and 
forms  of  expression.  It  is  useless  to  speculate  upon  the  nature  of 
the  mythologic  conceptions  with  an  idea  of  arriving  at  any  under 
standing  of  the  religion  of  the  people  ;  but  we  do  learn  something 
of  the  stage  of  development,  something  of  the  condition  of  philos 
ophy. 

I    must   not   close    this   section    without   referring    to   some   fine 
vases  that  belong  apparently  to  this  group  and  which  were  collected 


FIG.  213.  I-arge  vase  of  fine  shape  and  simple  decorations.     From  T>e  /eltr.er  —  about  J. 
fi  ETH 10 


146  ANCIENT   ART   OF   THE    PROVINCE    OF   CHIRIQUI. 

by  De  Zeltner  and  illustrated  by  photographs  accompanying  his 
pamphlet.  They  are  now,  I  believe,  in  the  possession  of  Prof.  0.  C. 
Marsh.  The  sketches  given  herewith  are  copied  from  De  Zeltner's 
photographs  and  are  probably  somewhat  defective  in  details  of  draw 
ing.  The  piece  illustrated  in  Fig.  213  is  not  described  by  the  author, 
but  is  evidently  a  handsome  vessel  and  is  decorated  in  a  very  simple 
manner.  A  band  of  devices  symbolizing  the  body  of  an  animal  en 
circles  the  middle  portion  of  the  vase.  The  height  is  about  a  foot. 


Fin.  214.  Vase  with  extraordinary  decorative  designs.    From  De  Zeltner  —  about  ]. 


A  second  piece  (Fig.  214),  of  which  two  views  are  given  by  the 
same  author,  corresponds  closely  in  many  respects  with  the  vase  illus 
trated  in  Fig.  21 1  and  is  described  in  the  following  language: 

My  collection  includes  a  cup  (or  chalice)  of  baked  clay  25 centimeters  in  diameter, 
mounted  on  a  hollow  stand  wh:ch  gives  it  a  height  of  18  centimeters,  and  the  de 
signs  of  which  are  very  rich  and  in  perfect  taste.  The  base  is  hollow  and  colored 
red,  white,  black,  and  purple  ;  it  has  four  nariow  openings  or  slits,  and  the  design 
represents  plaits -spirally  arranged.  The  under  side,  of  the  cup  is  divided  into  four 
conipartmenfs,  each  of  which  incloses  a  dragon  painted  in  black  and  red  on  a  white 
ground  ;  the  borders  are  sometimes  red,  sometimes  purple.  The  body  of  the  dragon 
might  have  been  painted  in  China,  so  neat  and  intricate  is  the  drawing. 

The  design  upon  the  inside  of  the  cup  seems  to  resemble  Egyptian  art.  The body 
of  a  man  is  seen,  painted  in  red,  the  arms  and  legs  separated,  and  the  shoulders 
I  taring  the  head  of  the  dragon  with  teeth  and  crest.  The  color  is  similar  to  the 
rest  of  the  piece  —  purple,  white,  and  black.  The  intermediate  spaces  are  filled 
with  very  int'  icate  designs. 

This  extraordinary  design  is  shown  in  Fig.  215,  and  it  will  be  seen 
that  it  agrees  in  many  respects  with  figures  presented  in  the  lost 
color  and  alligator  groups.  It  is  compoimd  in  character,  however, 
the  head  referring  to  the  alligator,  the  body  and  extremities  perhaps 
to  a  man  or  to  a  monkey.  The  suggestion  of  the  oriental  dragon  in 
this,  as  in  other  examples,  is  at  once  apparent,  and  the  resemblance 
to  certain  conventional  forms  that  comedown  to  us  from  the  earliest 


HOLMES.]  VASES    OF   THE    POLYCHROME    GROUP.  147 

known  period  of  Chinese  art  is  truly  remarkable.  We  cannot,  of 
course,  predicate  identity  of  origin  even  upon  absolute  identity  of 
appearances,  but  such  correspondences  are  worthy  of  note,  as  they 
may  in  time  accumulate  to  such  an  extent  that  the  belief  in  a  com 
mon  origin  will  force  itself  upon  us. 


Kl(i.  ^1").  Painted  design  of  vase  in  Fig.  ^14,  viewed  from  above,  thought  to  represent  a  dragon  by 
De  /eltner:  probably  a  comjtosite  of  the  alligator  and  the  monkey  or  man. 

Unclassified. — A  small  number  of  vases  do  not  admit  of  classifi 
cation  under  any  of  the  preceding  heads.  In  most  cases,  however, 
they  are  not  of  especial  interest  and  may  be  passed  over.  They  rep 
resent  a  number  of  varieties  of  ware  and  are  possibly  not  all  Chiri- 
quiau.  their  affinities  being  rather  with  the  pottery  of  Costa  Rica 
and  Nicaragua.  One  remarkable  piece,  of  which  a  sketch  is  given 
in  Fig.  50,  c,  is  of  large  size  and  is  shaped  somewhat  like  an  hour 
glass,  and  on  account  of  its  peculiar  form  and  markings  may  be  said 
to  resemble  a  corset.  The  upper  end  is  somewhat  the  smaller,  and 
the  septum,  which  forms  the  bottom  of  the  vessel,  is  placed  about 
an  inch  above  the  base  of  the  foot.  The  interior  surface  is  smoothly 
polished  and  painted  a  dark  dull  red.  The  exterior  is  uncolored  and 
neatly  fluted.  The  series  of  vertical  ribs  of  the  iipper  end  is  sepa- 


148 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIyUI. 


rated  from  those  of  the  base  by  a  belt  of  horizontal  fluting,  and  a 
wide  smooth  space  extends  from  the  top  to  the  base,  the  lower  sec 
tion  of  which  is  occupied  by  a  row  of  button-like,  indented  knobs. 
The  use  of  this  utensil  may  not  have  been  peculiar,  but  its  shape  is 
wholly  unique.  It  resembles  most  nearly  the  ware  of  the  maroon 
group.  Its  height  is  twelve  inches. 

Perhaps  the  most  interesting  of  these  unclassified  vases  is  a  some 
what  fragmentary  piece,  of  which  an  outline  is  given  in  Fig.  ->li;. 
The  ware  closely  resembles  that  of  the  alligator  group  in  color  of  the 


Fin.  210.  Vase  of  unique  form  and  decoration  — J. 

paste  and  slip,  but  the  base  has  been  supplied  with  an  annular  stand, 
a  feature  not  observed  in  that  group,  and  the  colors' of  the  design, 
with  the  exception  of  the  black,  are  unlike  those  used  in  Chiriquian 


vases. 


FIG.  217.  Painted  design  "f  vase  in  Fig.  216  in  black,  red,  and  gray. 

It  will  be  seen  by  reference  to  Fig.  217  that  the  painted  figures  are 
partially  pictorial,  the  conventional  scenes  including  the  sun,  the 
moon,  and  stars.  The  more  conventional  parts  of  the  design  are  very 
curious  and  without  doubt  are  symbolic.  The  border  of  fret  work 
is  Mexican  in  style.  The  sun,  which  is  only  partially  exposed  above 
the  horizon,  is  outlined  in  red  and  is  surrounded  by  red  rays.  The 


iioi.MKH.1  SPINDLE    VVHOKLS.  14J) 

figures  supposed  to  represent  the  moon  and  the  stars  are  in  black.  In 
the  illustration  the  reds  of  the  original  are  represented  by  vertical 
tint  lines  and  the  brownish  grays  by  horizontal  tint  lines.  The  black 
is  in  solid  color. 

MISCELLANEOUS    OBJECTS    OF   CI.AY. 

As  primitive  peoples  advance  in  culture  and  the  various  branches 
of  art  are  differentiated,  each  of  the  materials  employed  is  made  to 
iill  a  wider  and  wider  sphere  of  usefulness.  Clay,  applied  at  first  to 
vessel  making  and  used  perhaps  as  an  auxiliary  in  a  number  of  arts 
in  which  it  took  no  definite  or  individual  shapes,  gradually  extended 
its  dominion  until  almost  every  art  was  in  a  measure  dependent  upon 
it  or  in  some  way  utilized  it.  The  extent  of  this  expansion  of  avail 
ability  is  in  a  general  way  a  measure  of  the  advancement  of  the  races 
concerned.  The  Chiriquians  employed  clay  in  the  construction  of 
textile  machinery,  as  shown  by  the  occurrence  of  spindle  whorls,  and 
a  number  of  small  receptacles,  probably  needlecases.  are  constructed 
of  that  material.  It  was  employed  in  the  manufacture  of  stools, 
statuettes,  drums,  rattles,  and  whistles.  With  less  cultured  races. 
such  as  the  Pueblo  and  mound  builders  of  the  north,  such  articles 
were  rarely  manufactured,  while  with  the  more  cultured  nations  of 
Mexico  and  Peru  a  wider  field  was  covered  and  the  work  was  con 
siderably  superior. 

SPINDLE    WHOKl.S. 

The  art  of  weaving  was  carried  to  a  high  degree  of  perfection  by 
many  of  the  American  races,  but  the  processes  employed  were  of  the 
simplest  kind.  The  threads  were  spun  upon  wooden  spindles  weighted 


FIG.  218.  Spimllc  whorl  in  gray  clay  ilccoratcil  with  annular  nodes-  j. 


Fin.  21!l.  Spindle  whorl  of  gray  clav  with  Fio.  £)>.  Spindle  whorl  of  ilark  clay  wittii«rfi>ra- 

aiiiiiiiil  (inures  -  ;.  lions  ami  incisc<l  ornament  - 


150 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


with  whorls  of  baked  clay.  These  whorls  are  not  plentiful  in  the 
graves  of  Chiriqui,  but  such  as  have  been  collected  are  quite  sim 
ilar  in  style  to  those  of  Mexico  and  Peru.  In  Figs.  218,  219,  and 
220  we  have  three  examples  modeled  with  considerable  attention  to 
detail  but  comparatively  rude  in  finish.  They  are  in  the  natural 
color  of  the  baked  clay  and  are  but  rudely  polished.  The  first  is  en 
circled  by  a  line  of  rough,  indented  nodes,  the  second  is  embellished 
with  homely  little  animal  figures,  and  the  third  with  incised  patterns 
and  rude  incisions. 

NEEDLECASES(y). 

I  have  given  this  name  to  a  rather  large  class  of  small  oblong  or 
oval  receptacles  that  could  have  served  to  contain  needles  or  any 
other  small  articles  of  domestic  use  or  of  the  toilet.  They  consist  of 
two  parts,  a  vessel  or  body  and  a  lid.  The  former  takes  a  variety  of 
cylindrical,  subcylindrical,  and  doubly  conical  shapes,  and  the  latter 
is  conical  and  is  in  many  cases  furnished  with  a  knob  at  the  top  for 
grasping  with  the  fingers.  The  lid  is  attached  or  held  in  place  by 
means  of  strings  passed  through  small  holes  made  for  the  purpose  in 
corresponding  margins  of  the  two  parts.  These  objects  were  in  pretty 
general  use  in  the  province,  as  they  are  found  to  belong  to  a  number 
of  the  groups  of  ware,  being  finished  and  decorated  as  are  the  ordi 
nary  vessels  of  these  classes.  A  few  type  specimens  are  given  in  the 
following  cuts.  A  fine  example  belonging  to  the  unpainted  ware  is 


w 


FIG.  221.  Needlecase  of  unpainted  clay  with  con 
ical  lid— j. 


FIG.  2*2.  Needlecase,  lost  color  group  of 
ware  —  J . 


shown  in  outline  in  Fig.  221.     It  is  five  inches  in  height  and  three  in 
diameter  and  is  pleasing  in  shape.     The  specimen  outlined  in  Fig. 


HOI.MKK.  | 


NEEDI,ECASES    AND    FIGl'RIXES. 


222  is  of  the  lost  color  group,  but  has  lost  nearly  all  traces  of  the 
decorative  design. 

A  fine  example,  with  high  polish  and  elaborate  decoration,  is  pre 
sented  in  Fig.  223.  The  lid  is  raised  to  show  the  position  of  the  per 
forations.  Two  interesting  examples  belonging  to  the  dark  incised 


Fio.  234.  Needlecase  of  gray  clay  with  mi 
lar  incised  geometric  ornauieut  —  |. 


Fia.  323.  Needlecase  with  painted  geometric 
ornament,  belonging  to  the  lost  color  group  of 
ware  — J. 


Fio.  235.  Needlecase  of  gray  clay  with  black 
polished  surface  and  incised  ornament  —  i. 


ware  are  shown  in  Figs.  224  and  225.  The  deeply  incised  design  of 
the  first  is  purely  geometric,  but  is  probably  of  graphic  parentage, 
while  that  of  the  second,  rather  rudely  scratched  through  the  dark 
surface  into  the  gray  paste,  is  apparently  a  less  highly  conventional 
ized  treatment  of  the  same  motive. 

FIGURINES 

I  have  already  called  attention  to  the  fact  that  there  is  no  such  thing 
in  Chiriquian  ceramic  art  as  a  well  modeled  human  figure  and  appar 
ently  no  indication  of  an  attempt  to  render  the  human  physiognomy 
with  accuracy.  It  is  highly  probable  that  the  personages  embodied 
in  the  mythology  of  the  people  took  the  forms  of  animals  or  were  an 
thropomorphic  and  gave  rise  to  the  peculiar  conceptions  embodied  in 
their  arts.  The  strange  objects  herewith  presented  are  rendered  in 
a  measure  intelligible  by  the  adoption  of  this  hypothesis.  These 
figurines  are  confined  to  the  alligator  group  of  ware  and  are  quite 
numerous.  They  are  small,  carefully  finished,  and  painted  with  care 
in  red  and  black  lines  and  figures.  They  are  semihuman  and  appear 
to  be  arrayed  in  costume.  The  head  of  each  is  triangiilar  in  shape, 
having  a  sharp,  projecting  profile,  with  the  mouth  set  back  beneath 
the  chin,  reminding  one  of  the  face  of  a  squirrel  or  some  such  rodent. 


152 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 


The  figures  occupy  a  sitting  posture.  The  legs  ai-e  spread  out  hori 
zontally,  giving  a  firm  support,  and  terminate  in  blunt  cones,  which 
are  in  some  cases  slightly  bent  up  to  represent  feet.  The  hands  rest 
upon  the  sides  or  thighs  or  clasp  a  small  figure  apparently  intended  for 
an  infant,  which,  however,  does  not  seem  to  have  any  human  features. 
In  one  case  this  figiire  is  placed  upon  the  back  of  the  figurine  and 
appears  to  hold  its  place  by  means  of  four  feet  armed  with  claws  (Fig. 
226);  in  another  it  is  held  in  front  (Fig.  227).  The  neck  is  usually 
pierced  to  facilitate  suspension,  and  the  under  side  of  the  body  —  the 
sitting  surface  —  is  triply  perforated,  or  punctured  if  solid,  as  if 
for  the  purpose  of  fixing  the  figure  in  an  upright  position  to  some 


Fir,.  sHIi.  Statuette,  alligator  group—  j. 

movable  support.  The  central  perforation  is  round  and  the  lateral 
ones,  on  the  under  side  of  the  legs,  are  oblong.  The  largest  specimen 
is  six  inches  in  height  and  the  smallest  about  one  and  a  half  inches. 
They  are  rather  elaborately  painted  with  black  and  red  devices 
which,  by  their  peculiar  geometric  character,  are  undoubtedly  in 
tended  to  indicate  the  costume.  The  hair  is  represented  by  black 
stripes,  which  descend  upon  the  neck,  and  the  face  is  striped  with  red. 
They  are  found  associated  with  other  relics  in  the  graves  and  were 
possibly  only  toys,  but  more  probably  Avere  tutelary  images  or 


STATl'KTTKS. 


lf>3 


Fin.  *!7.  Statuette,  alligator 


served  some  unknown  religious  purpose.  The  sex  is  usually  femi 
nine.  Two  additional  examples  showing  side  and  back  views  are 
outlined  171  Figs.  228  and  229. 


FIG.  228.  Statuette  of  small  size  -    1. 


FIG.  •££).  Statuette  of  largest  size — 1. 


154  ANCIENT   ART   OF   THE    PROVINCE   OF   CHIRIQUI. 

STOOLS. 

1  have  given  this  name  to  a  class  of  stone  carvings  presented  in  a 
previous  section,  and,  for  want  of  a  better  name,  give  it  also  to  a 
series  of  similar  objects  modeled  in  clay.  These  are  among  the  most 
elaborate  products  of  Chiriquian  art.  In  all  cases  they  are  of  the 
yellowish  unpainted  pottery  and  indicate  much  freedom  and  skill  in 
the  handling  of  clay.  They  do  not  show  any  well  denned  evidences 
of  use,  and  as  they  are  too  slight  and  fragile  to  be  vised  as  ordinary 
seats  we  are  left  to  surmise  that  they  may  have  served  some  purpose 
in  the  religious  rites  of  the  ancient  races.  They  are  uniform  in  con 
struction  and  general  conformation  and  consist  of  a  circular  tablet 
supported  by  upright  circular  walls  or  by  figures  which  rest  upon  a 
strong,  ring  shaped  base.  The  tablet  or  plate  is  somewhat  concave 
above,  is  less  than  an  inch  in  thickness,  and  has  a  diameter  of  ten 
and  one-fourth  inches  in  the  largest  piece,  descending  to  seven  and 
one-half  in  the  smallest.  The  margin  is  rounded  and  usually  em 
bellished  with  a  beaded  ornament  consisting  of  grotesque  heads,  gen 
erally  reptilian.  The  variations  exhibited  in  details  of  modeling  are 
well  shown  by  the  illustrations.  In  the  example  given  in  Fig.  2'M 


Fia.  230.  Stool  of  plain  terra  cotta,  decorated  with  grotesque  heads  and  incised  figures—  ;,. 

the  upright  portion  is  a  hollow  cylinder,  having  four  vertical  slits, 
alternating  with  which  are  oblique  bands  of  ornament  in  incised  lines 
and  punctures.  The  projecting  margin  of  the  tablet  is  encircled  by 
a  row  of  grotesque,  monkey-like  heads,  facing  downward. 

Fig.  231  illustrates  a  specimen  in  which  three  grotesque  figures, 
with  forbidding  faces,  alternate  with  as  many  flat  columns  embel 
lished  with  rude  figures  of  alligators.  Eighteen  grotesque,  monkey- 
like  heads  occupy  the  lower  margin  of  the  seat  plate  in  the  spaces 
between  the  heads  of  the  supporting  figures.  This  specimen  illus 
trates  the  favorite  Chiriquian  method  of  construction.  The  various 
parts  were  modeled  separately  in  a  rough  way  and  then  set  into  place 


STOOLS. 


155 


in  the  order  of  their  importance.  When  this  was  done  and  the  in 
sertions  were  neatly  worked  together  with  the  fingers,  a  number  of 
small  instruments  were  employed  in  finishing:  a  sharp  stylus  for  indi 
cating  parts  of  the  costume,  and  blunt  points  and  small  tubular  dies 


FIG.  '-231.  Stool  of  plain  clay,  with 


for  adding  intaglio  details  of  anatomy,  such  as  the  navel,  the  pupils 
of  the  eyes,  and  the  partings  of  the  fingers  and  toes. 

The  discoidal  plate  of  another  specimen  is  supported  by  four  ab 
surdly  grotesque  monkeys,  giving  a  general  effect  much  like  that  of 
the  last. 

A  very  remarkable  piece  is  shown  in  Fig.  232      The  tablet  is  sup- 


Pra.  233.  Stool  of  plain  terra  cotta. 


ported  by  six  grotesqiie  figures,  somewhat  human  in  appearance, 
whose  limbs  are  intertwined  with  serpents,  suggesting  the  famous 
group  of  the  Laocoon.  The  work  is  roughly  done  and  the  details 


If)  6  ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQUI. 

arc  not  carried  out  in  a  very  consistent  manner,  as  the  arms  and  legs 
of  the  figures  become  confused  with  the  reptiles  and  are  as  likely  to 
terminate  in  a  snake's  head  as  in  a  hand  or  foot.  The  rudely  shaped 
bodies  are  covered  with  indented  circlets  or  with  short  incised  lines. 
The  material,  color,  and  finish  are  as  usual.  The  height  is  four  and 
one-half  inches  and  the  diameter  of  the  tablet  ten  inches. 

There  are  additional  specimens  in  the  National  Museum.  In  one 
case,  the  largest  specimen  of  the  series,  the  tablet  is  supported  by 
five  upright  female  human  figures  and  the  margin  is  encircled  by  a 
cornice  of  forty-six  neatly  modeled  reptilian  heads.  A  small  example 
differs  considerably  in  general  shape  from  those  illustrated,  the  base 
being  much  smaller  than  the  circular  tablet.  The  supporting  figures 
are  two  rudely  modeled  ocelots  and  twTo  monkey-like  figures,  all  of 
which  are  placed  in  an  inverted  position.  Similar  objects  are  ob 
tained  from  the  neighboring  states  of  Central  and  South  America. 

MUSICAL   INSTRUMENTS. 

Something  is  already  known  of  the  musical  instruments  of  the 
ancient  Chiriquians  through  fugitive  specimens  that  have  found  their 
way  into  collections  in  all  parts  of  Europe  and  America.  The  testi 
mony  of  the  earthen  relics — for  no  others  are  preserved  to  us — goes 
to  show  that  the  art  of  music  was,  in  its  rude  way,  very  assiduously 
practiced,  and  that  it  probably  constituted  with  these,  as  with  most 
primitive  communities,  a  serious  and  important  feature  in  the  various 
ceremonial  exercises.  Clay  is  naturally  limited  to  the  production  of 
a  small  percentage  of  the  musical  instruments  of  any  people,  the 
various  forms  of  woody  growths  being  better  adapted  to  their  manu 
facture.  We  have  examples  of  both  instruments  of  percussion  and 
wind  instruments,  the  former  class  embracing  drums  and  rattles  and 
the  latter  whistles  and  clarionette-like  pipes. 

Rdttles. — Besides  the  ordinary  rattles  attached  to  and  forming 
parts  of  vessels,  as  already  described,  there  are  a  number  of  small 
pieces  that  seem  to  have  served  exclusively  as  rattles,  while  some 
are  rattle  and  whistle  combined  in  one  piece.  In  no  case,  however, 
would  they  seem  to  the  unscientific  observer  to  be  more  than  mere 
toys,  as  they  are  of  small  size  and  the  sounds  emitted  are  too  weak 
to  be  perceptible  at  any  considerable  distance.  At  the  same  time  it 
is  true  that  they  may  have  had  ceremonial  offices  of  no  little  conse 
quence  to  the  primitive  priesthood.  The  simple  rattles  are  shaped 
like  gourds,  the  body  being  globular  and  the  neck  or  handle  long  and 
straight.  Like  the  wares  already  described,  they  are  ."unshed  and 
decorated,  the  majority  belonging  to  the  lost  color  group.  The  length 
varies  from  three  to  six  or  seven  inches.  A  number  of  minute  slit- 
like  orifices  or  perforations  for  the  emission  of  the  sound  occur  about 
the  upper  part  of  the  body  (Fig.  233).  A  septum  is  placed  in  the  lower 
part  of  the  neck,  so  that  the  handle,  which  is  hollow  and  open  at  the 


MUSICAL    INSTRUMENTS. 


If)  7 


upper  end,  may  serve  as  a  whistle.  In  some  cases  the  lower  part  of 
the  neck  is  perforated  for  suspension  at  the  point  occupied  by  the 
septum,  as  imperfectly  shown  in  the  section  (Fig.  2'3i).  The  most  in 
teresting  specimen  in  the  collection  is  shown  in  Fig.  2:55;  it  is  espe 
cially  notable  on  account  of  its  construction,  which  points  clearly  to 
the  gourd  as  a  prototype.  The  body  is  of  the  usual  globular  shape, 
slightly  elongated  above.  The  neck  is  represented  as  a  separate  piece 


Flo.  SIS.  Hill  t  It-  ilei-orated  in  the 
style  of  the  lost  color  group  —  {. 


Via.  234.  Section  of  rattle 
shown  in  Kig.  338. 


FIG.  23.5.  Rattle  of  plain  ware 
surmounted  by  two  grotesque  fig 
ures  — j. 

lashed  on  with  cords  by  means  of  perforations  made  for  the  purpose, 
just  as  are  the  handles  of  similar  instruments  constructed  of  gourds 
and  reeds  in  Central  American  coimtries.  The  compartments  of  the 
handle  and  of  the  body  are  separate  and  the  sound  produced  by  the 
small  oval  pellets  is  emitted  through  slits  of  the  usual  form.  The 
top  of  the  handle  is  surmoimted  by  a  pair  of  grotesque  human  figui  es, 
male  and  female,  placed  back  to  back  and  united  at  the  backs  of  the 
heads  as  seen  in  the  cut.  This  object  is  gray  in  color  and  presents 
the  roughened  granular  surface  resulting  from  long  exposure  to  the 
elements. 

Drums. — The  drum  was  a  favorite  instrument  with  the  native 
American  musician.  Early  explorers  found  its  iise  next  to  uni 
versal,  and  the  ' '  tambour  "  is  even  now  a  characteristic  feature  of  the 
musical  paraphernalia  of  the  Spanish-Americans.  The  primitive 
instrument  was  made  by  stretching  a  thin  sheet  of  animal  tissue  over 
the  orifice  of  a  large  gourd  vessel  or  a  vessel  of  wood  or  clay.  The 


158 


ANCIENT   ART   OF   THE    PROVINCE   OF   CH1RIQUI. 


use  of  clay  was  probably  exceptional,  as  there  are  but  three  specimens 
in  our  Chiriquian  collection.  The  shape  is  somewhat  like  that  of  an 
hour  glass,  the  upper  part,  however,  being  considerably  larger  than 
the  base  or  stand.  In  all  cases  the  principal  rim  is  finished  with 
especial  reference  to  the  attachment  of  the  vibrating  head.  The  ex 
ample  presented  in  Fig.  230  has  a  deeply  scarified  belt  an  inch  wide 
encircling  the  rim,  and  below  it  is  a  narrow  ridge,  intended  perhaps  to 
facilitate  the  lashing  or  cementing  on  of  the  head.  Two  raised  bands, 
intended  to  imitate  twisted  cords,  encircle  the  most  constricted  part 
of  the  body,  a  single  band  similarly  marked  encircling  the  base. 
The  surface  is  gray  in  color  and  but  rudely  polished.  The  walls  are 
about  three-eighths  of  an  inch  thick,  the  height  sixteen  and  one-half 
inches,  and  the  greatest  diameter  seven  and  one-half  inches. 


FIG.  23i>.  Drum  of  Kray  unpainted  clay  —  ^. 


The  decorated  specimen  illustrated  in  Fig.  237  is  imperfect,  a  few 
inches  of  the  base  having  been  lost.  The  shape  is  rather  more  ele 
gant  than  that  of  the  other  specimen  and  the  surface  is  neatly  finished 
and  polished.  The  ground  color  or  slip  is  a  warm  yellow  gray  and 
the  decoration  is  in  red  and  black.  The  rim  or  upper  margin 


IS 


DRUMS. 


159 


rather  rudely  finished  and  is  painted  red  and  on  the  exterior  is  made 
slightly  concave  and  furnished  with  a  raised  band  to  facilitate  the 
attachment  of  the  head.  The  painted  ornament  encircles  the  body 
in  four  zones,  two  upon  the  upper  portion  and  two  upon  the  base. 


Fio.  237.  Drum  with  painted  ornament  iu  the  style  of  the  lost  color  group— J. 


Fio.  238.  Conventional  design  on  drum  shown  in  Fip.  '^37.  composed  of  alligator  derivatives. 

The  designs  occupying  the  body  zones  are  unique  and  viewed  in  the 
light  of  their  probable  origin  are  extremely  interesting.  In  another 
place  further  on  in  this  paper  1  shall  show  that  they  are  probably 


ANCIENT    ART    OP    THE    PROVINCE    OF    CHIKIQUI. 

very  highly  conventionalized  derivatives  of  the  alligator  radical,  the 
meandered  line  representing  the  body  of  the  creature  and  the  scal 
loped  hooks  the  extremities  (Fig.  238).  The  two  bands  upon  the  base 
consist  of  geometric  figures,  the  origin  of  which  cannot  be  definitely 
determined,  although  they  also  probably  refer  to  the  alligator. 

In  the  collection  there  is  a  minute  toy  drum  of  the  same  general 
shape,  and  the  same  form  reappears  in  some  of  the  whistles,  in  one 
of  which  (Fig.  247)  the  skin  head  and  its  fastenings  are  all  carefully 
reproduced  in  miniature.  The  immediate  original  of  this  particular 
form  of  drum  was  probably  made  of  wood.  A  drum  recently  brought 
from  Costa  Rica  was  made  by  hollowing  out  a  cylindrical  piece  of 
wood  and  stretching  a  piece  of  snakeskin  across  the  top.  The  shape 
is  nearly  identical  with  that  of  these  earthen  specimens. 

Wind  instruments. — Earthenware  wind  instruments  are  found  in 
considerable  numbers  and  are  associated  with  other  relics  in  the 
tombs.  Nearly  all  are  very  simple  in  construction  and  are  limited 
in  musical  power,  receiving  and  perhaps  generally  deserving  no  bet 
ter  name  than  whistles  or  toys.  A  few  pieces  are  more  pretentious  • 
and  yield  a  number  of  notes,  and  if  operated  by  skilled  performers  or 
properly  concerted  are  capable  of  producing  pleasing  melodies.  It  is 
not  difficult  to  determine  the  powers  of  individual  instruments,  but  we 
cannot  say  to  what  extent  these  powers  were  understood  by  the  origi 
nal  owners,  nor  can  we  say  whether  or  not  they  »vere  intended  to  be 
played  in  unison  in  such  a  way  as  to  give  a  certain  desired  succes 
sion  of  intervals.  There  are,  however,  in  a  large  number  of  these  in 
struments  a  uniformity  in  construction  and  a  certain  close  corre 
spondence  in  the  number  and  degree  of  the  sounds  that  indicate  the 
existence  of  well  established  standards.  It  does  not  appear  absolutely 
certain  to  me  that  the  system  of  intervals  was  made  to  conform  to  that 
<  if  any  known  scale;  but  a  difficulty  arises  in  attempting  to  determine 
this  point,  as  most  of  the  pieces  are  more  or  less  mutilated.  We  find 
also  that  the  note  producible  by  any  given  stop  is  not  fixed  in  pitch, 
but  varies,  with  the  force  of  the  breath,  two  or  even  three  full  inter 
vals.  As  a  result  of  this  a  glide  is  possible  to  the  skilled  performer 
from  note  to  note  and  any  desired  pitch  can  be  taken. 

In  material,  finish,  and  decoration  these  objects  do  not  differ  from 
the  ordinary  pottery.  A  majority  belong  to  the  alligator  group.  The 
size  is  generally  small,  the  largest  specimen  being  about  eight  inches 
in  length.  The  shapes  are  wonderfully  varied  and  indicate  a  lively 
imagination  on  the  part  of  the  potter.  Animal  forms  prevail  very 
decidedly,  that  of  the  bird  being  a  great  favorite.  In  many  cases  the 
animals  copied  can  be  identified,  but  in  others  they  cannot  —  perhaps 
from  our  lack  of  knowledge  of  the  fauna  of  the  province,  perhaps  from 
carelessness  on  the  part  of  the  artist  or  from  the  tendency  to  model  gro 
tesque  and  complicated  shapes.  The  following  creatures  can  be  rec 
ognized:  men.  pumas,  ocelots,  armadillos,  eagles,  owls,  ducks,  parrots, 


HIM,MKS.[ 


WHISTLES. 


1C1 


several  varieties  of  sinall  birds,  alligators,  crabs,  and  scorpions. 
Vegetal  forms,  excepting  where  in  use  as  instruments  or  utensils, 
as  reeds  and  gourds,  were  not  copied.  In  the  National  Museum  col 
lection  there  are  two  tubular  pipes,  probably  modeled  after  reeds, 
and  another  resembles  a  gourd  in  shape.  The  construction  of  the 
whistling  apparatus  is  identical  in  all  cases  and  corresponds  to  that 
of  our  flageolets  (see  sections.  Figs.  240  and  242).  Plain  tubes  were 
doubtless  also  used  as  whistles,  and  all  utensils  of  small  size,  such  MS 
needlecases  and  toy  vases,  can  be  made  to  give  forth  a  note  more  or 
less  shrill,  according  to  the  size  of  the  chamber.  The  simplest  form 
of  whistle  produces  two  shrill  notes  identical  in  pitch.  The  shape  is 


FIG.  33!i.  himlile  whistle,  lost 
ulor  ware  —  \. 


Fi«.  S40.  Section  of  double  whistle 


double,  suggesting  a  primitive  condition  of  the  tibi;e  [tares  of  the 
Romans.  The  parts  are  pear  or  gourd  shaped,  are  joined  above  and 
below,  and  have  an  opening  between  the  necks.  The  two  mouth 
pieces  are  so  close  together  that  both  are  necessarily  blown  at  once. 
The  note  produced  is  pitched  very  high  and  is  extremely  penetrating. 


not  to  say  ear  splitting,  making  an  excellent  call  for  the  jungles  and 
forests  of  the  tropics.  A  small  specimen  is  presented  full  size  in  Fig. 
•.':i'.i.  and  the  section  in  Fig.  -.'40  shows  the  relative  positions  of  the 
mouthpieces,  air  passages,  vent  holes,  and  chambers. 

Reed  shaped  instruments  are  furnished  with  passages  and  orifices 
corresponding  to  the  other  forms.  The  chamber  is  tubular  and  the 
lower  end  is  open,  and  the  finger  holes,  when  present,  areoii  the  upper 
side  of  the  cylinder.  ( )ne  example  without  finger  holes  has  two  notes 
nearly  an  octave  apart,  which  are  produced,  the  higher  with  the  tube 
open  and  the  lower  with  it  closed.  Perhaps  the  most  satisfactory 
instrument  in  the  whole  collection,  so  far  as  range  is  concerned,  is 
shown  in  Fig.  241.  and  a  section  is  given  in  Fig.  242.  It  is  capable 
of  yielding  the  notes  indicated  in  the  accompanying  scale:  First,  a 
normal  series  of  eight  sounds,  produced  as  shown  in  the  diagram,  and. 

(')  ETH 1  1 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHiKiyUI. 


second,  a  series  produced  by  blowing  with  greater  force,  one  note  two 
octaves  above  its  radical  and  the  others  three  octaves  above.     These 


FIG.  ~'4I.  Tubular  instrument  with  two  finger  holes,  alligator  group —  }. 


—  -V..s   ~3*T'coy  > 


FIG.  24'2.  Section  of  whistle. 


notes  are  difficult  to  produce  and  hold  and  were  probably  not  utilized 
by  the  native  performer. 


Two  little  instruments  of  remarkable  form  and  unusual  powers 
stand  quite  alone  among  their  fellows.  One  only  is  entire.  It  is 
made  of  dark  clay  and  represents  a  creature  not  referable  to  any 
known  form,  so  completely  is  it  conventioiialized.  A  fair  idea  of  its 
appearance  can  be  gained  from  Figs.  243  and  244:.  The  first  gives  the 


FIG.  SJ48.  FIG.  *14. 

Small  animal  shaped  whistle  of  blackish  ware,  with  four  finger  holes —  J. 

side  view  and  the  second  the  top  view.     The  mouthpiece  is  in  what 
appears  to  be  the  forehead  of  the  creature.     The  vent  hole  is  beneath 


JlnLMKS.l 


WHISTLES. 


the  neck  and  there  are  four  minute  fingor  holes,  out;  in  tin;  middle 
of  each  of  four  fiattish  nodes,  which  have  the  appearance  of  large 
protruding  eyes.  A  suspension  hole  passes  through  a  node  upon  the 
top  of  the  head.  The  capacity  of  this  instrument  is  five  notes,  clear 
in  tone  and  high  in  pitch.  It  is  notable  that  the  pitch  of  each  stop, 
when  open  alone,  is  identical,  the  holes  being  of  exactly  the  same  size. 


111  playing  it  does  not  matter  in  what  order  the  fingers  are  moved. 
The  lower  note  is  made  with  all  the  holes  closed  and  the  ascending 
scale  is  produced  by  opening  successively  one,  two.  three,  and  four 
holes.  The  fragmentary  piece  is  much  smaller  and  the  holes  are  ex 
tremely  small. 

Of  a  distinct  type  of  form,  although  involving  no  new  principle  of 
construction,  are  two  top-like  or  turnip  shaped  instruments,  one  of 
which  is  shown  in  Fig.  245.  The  form  is  symmetrical,  the  ornamen 
tation  tasteful,  and  the  surface  highly  polished.  The  ware  is  of  the 
alligator  group  and  is  decorated  in  red  and  black  figures.  A  section 
is  given  in  Fig.  24(i,  ".  and  top  and  bottom  views  in  l>  and  r.  By 
reference  to  these  a  clear  conception  of  the  object  can  he  formed. 


FIG.  :HV  Top  sliape<l  instrument,  with  three  linger  holes,  alligator  ware  -   \. 

The  companion  piece  is  identical  in  size,  shape,  and  conformation, 
and.  strange  to  say,  in  musical  notes  also.     The  tones  are  not  fixed. 


ANCIENT    ART    OF    THK    PROVINCE    OF    CHIRIOUI. 


as  each  can  be  made  to  vary  two  or  three  degrees  by  changing  the  force 
of  the  breath.     The  tones  produced  by  a  breath  of  average  force  are 


b  c 

Fio.  *46.  Section  and  vertical  views  of  instrument  shown  in  Fig.  345. 

indicated  as  nearly  as  may  be  in  the  accompanying  scale.     They 
will  be  found  to  occur  nearer  the  lower  than  the  upper  limit  of  their 


END      OPEN 


ranges.  It  should  be  observed  that  the  capacity  for  variation  pos 
sessed  by  each  of  these  notes  enables  the  skilled  performer  to  glide 
from  one  to  the  other  without  interruption.  This  iiistniment  is, 
therefore,  within  its  limited  range,  as  capable  of  adjusting  itself  to  any 
succession  of  intervals  as  is  the  trombone  or  the  violin.  I  do  not  im 
agine,  however,  that  the  aboriginal  performer  made  any  systematic 
use  of  this  power  or  that  the  instrument  was  purposely  so  constructed. 
It  will  be  seen  by  reference  to  the  scale  that  stopping  the  orifice  in 
the  end  opposite  the  mouthpiece  changes  the  notes  half  a  tone,  or 
perhaps,  if  accurately  measured,  a  little  less  than  that. 

Our  collection  ooiitains  several  dozon  throo  nftto  whistles  or  pipes. 
Most  of  these  represent  animal  forms,  which  are  treated  in  a  more  or 
less  realistic  way,  but  with  a  decided  tendency  toward  the  grotesque. 
Nearly  all  are  of  small  size,  the  largest,  an  alligator  form,  having  a 
length  of  about  eight  inches.  In  the  animal  figures  the  air  chamber 
is  within  the  body,  but  does  not  conform  closely  to  the  exterior  shape. 
The  mouthpieces  and  the  orifices  are  variously  placed,  to  suit  the  fancy 
of  the  modeler,  but  the  constmctioii  and  the  powers  are  pretty  uni  form 
throughout.  There  are  two  finger  holes,  placed  in  some  cases  at 
equal  and  in  others  at  unequal  distances  from  the  mouthpiece,  but 
they  are  always  of  equal  size  and  produce  identical  notes.  The 
capacity  is  therefore  three  notes.  The  lower  is  produced  when  all  the 
orifices  are  open,  the  higher  when  all  are  closed,  and  the  middle  when 
one  hole — no  matter  which — is  closed. 

Besides  the  animal  forms  there  are  a  number  of  shapes  copied  from 
other  musical  instruments  or  from  objects  of  art,  such  as  vases.  A 
very  interesting  specimen,  illustrated  in  Fig.  247,  modeled  in  imita- 


IIOI..MKS.] 


WHISTLES. 


tion  of  a  drum,  lias  not  only  the  general  shape  of  that  instrument, 
but  the  skin  head,  with  its  bands  and  cords  of  attachment,  is  truth 
fully  represented.  A  curious  conceit  is  here  observed  in  the  asso 
ciation  of  the  bird  —  a  favorite  form  for  the  whistles  —  with  the  drum. 
A  small  figure  of  a  bird  extends  transversely  across  the  body  of  the 
drum  chamber,  the  back  being  turned  from  the  observer  in  the  cut. 
The  tail  serves  for  a  mouthpiece,  while  the  finger  holes  are  placed  in 


Kio.  247.  Drum  shaped  whistle  of  plain  ware, 
with  liinl  figure  attached  —  }. 


Fio.  *W.  Vase  shaped  whistle,  lost  color  ware  — t 


the  breast  of  the  bird,  the  position  usually  assigned  to  them  in  simple 
bird  whistles  :  its  three  notes  are  indicated  in  the  accompanying  scale: 


8va- 


One  specimen  is  vase  or  pitcher  shaped,  with  base  prolonged  for  a 
mouthpiece  and  with  a  neat  handle  (Fig.  248).  The  ground  color  is 
a  dull  red.  upon  which  are  traces  of  painted  figures.  Its  notes  are 
as  follows: 

8v» 


A  novel  conceit  is  exhibited  in  the  crab  shaped  instrument  pre 
sented  in  Fig.  249.  which  gives  a  back  view  of  the  animal.  On  the 
opposite  side  are  four  small  conical  legs,  upon  which  the  object  rests 
as  does  a  vase  upon  its  tripod.  The  mouthpiece  is  in  the  right  arm. 
beneath  which  is  the  sound  hole.  The  two  finger  holes  are  in  the 


AXC1EXT    AKT    OF    THE    PROVINCE    OK 


FIG.  340.  Crab  shaped  whistle.  alligator  ware  —  \. 

back  l)ehind  the  eyes  of  the  creature  and  a  suspension  hole  is  seen  in 
the  left  arm.  The  painted  designs  are  in  red  and  black  lines  upon  a 
yellowish  gray  ground.  The  following  scale  indicates  its  capacity: 


The  largest  specimen  in  the  collection,  shown  in  Fig.  250,  repre 
sents  an  alligator  and  is  finished  in  the  usual  conventional  style  of 
the  alligator  group.  The  air  chamber  is  large  and  the  sounds  emitted 


Fin.  250.  Alligator  shaped  whistle,  alligator  ware  — J. 

are  full  and  melodious  and  are  lower  in  pitch  than  those  of  any  other 
instrument  in  the  collection.  The  cavity  in  the  mouth  and  head  is 
separated  from  the  body  chamber,  and,  with  the  addi 
tion  of  earthern  pellets,  probably  served  as  a  rattle. 
The  mouthpiece  is  in  the  tail  and  the  finger  holes  are 
in  the  sides  of  the  body. 


\\HISTLKS. 


1G7 


Mammals  are  very  often  reproduced  in  these  instruments.  What 
appears  to  be  the  ocelot  or  jaguar  is  the  favorite  subject.  A  rep 
resentative  specimen  is  shown  in  Fig.  251.  The  mouthpiece  is  in 

6va the  tail  and  one  of  the  sound  holes  is  in  the  left  shoulder 

:  and  the  other  beneath  the  body.     The  head  is  turned  to 
'one  side  and  the  face  is  decidedly  cat-like  in  expression. 


Fin  351.  C'at  slmix'd  wliistlc.  alligator  ware      }. 

The  decoration  is  in  black  and  red  and  may  be  taken  as  a  typical 
example  of  the  conventional  treatment  of  the  markings  of  the  bodies 
of  such  animals.  The  tips  of  the  ears,  feet,  and  tail  are  red.  Rows  of 
red  strokes,  alternating  with  black,  extend  in  a  broad  stripe  from  the 
point  of  the  nose  to  the  base  of  the  neck.  Red  panels,  inclosing  rows 
of  red  dots  and  enframed  by  black  lines,  cross  the  back.  On  the  sides 
we  have  oblong  spaces  filled  in  with  the  conventional  devices  so  com 
mon  in  other  animal  representations.  The  legs  are  striped  and  dotted 
after  the  usual  manner. 

A  unique  form,  and  one  that  will  be  looked  at  with  interest  by  com 
parative  ethnologists  on  account  of  the  treatment  of  the  tongues,  is 
given  in  Fig.  252.  The  instrument  consists  of  an  oblong  body  to 
which  four  ocelot  heads  are  fixed,  one  at  each  end  and  the  others  at 
the  sides.  It  rests  upon  four  feet,  in  one  of  which  the  mouthpiece  is 
placed.  The  finger  holes  are  in  the  side  of  the  body  near  the  legs,  as 
seen  in  the  cut.  The  decoration  which  consists  of  more  or  less  con- 


lli.X 


ANCIENT    AKT    OF    THE    PKOVINC'E    (IF    CHIKlyl'l. 


lot-Hkr  heads,  alligator  ware—  }. 


ventional  representations  of  the  skin  markings  of  the  animal,  is  171 
black  and  red.     Its  notes  are  three,  as  follows : 


The  prevalence  of  bird  forms  is  due  no  doubt  to  the  resemblance  of 
the  notes  of  primitive  whistles  to  the  notes  of  birds.  The  shape  of 
the  bird  is  also  exceptionally  convenient,  as  the  body  accommodates 
the  air  chamber,  the  tail  serves  as  a  mouthpiece,  and  the  head  is  con 
venient  for  the  attachment  of  a  cord  of  suspension.  A  great  variety 
of  forms  were  modeled  and  range  from  the  minute  proportions  of  the 
smallest  humming  bird  to  those  of  a  robin.  The  larger  pieces  repre 
sent  birds  of  prey,  such  as  hawks,  eagles,  and  vultures,  and  the  smaller 
are  intended  for  parrots  and  song  birds.  The  treatment  is  always 
highly  conventional,  yet  in  many  cases  the  characteristic  features  of 
the  species  are  forcibly  presented.  The  painted  devices  have  reference 
in  most  cases  to  the  markings  of  the  plumage,  yet  they  partake  of  the 
geometric  character  of  the  designs  used  in  ordinary  vase  painting. 
The  ground  is  the  usual  yellowish  gray  of  the  slip,  and  nearly  all  the 
pieces  belong  to  the  lost  color  and  alligator  groups. 

A  characteristic  example  is  illustrated  in  Fig.  253.  The  head  is  large 
and  flat  and  the  painted  devices  are  in  the  red  and  black  of  the  lost 
color  group.  The  three  notes  are  as  follows  : 

8va — -_ 


WH1STI.KK. 


1159 


FIG.  *iV).  Bird  shaped  whistle,  with  decoration  in  bhu-k.  lost  color  ware —  \. 

Tlie  piece  given  in  Fig.  254  has  the  shape  and  markings  of  a  hawk  or 
oagle.     It  belongs  to  the  alligator  ware  and  is  elaborately  finished 


FIG.  *-i54.  Bird  shaped  whistle,  with  conventional  decoration  in  ml  and  black,  alligator  ware  —  J. 

8va 


170 


ANCIENT    ART    OF    THE    PROVINCE    OP    CHIRIQUI. 


in  semigeometric  devices  in  red  and  black.     All  of  these  devices  re 
fer  more  or  less  definitely  to  the  markings  of  the  plumage. 

The  example  shown  in  Fig.  255  represents  a  bird  with  two  heads, 
the  shape  and  markings  of  which  suggest  one  of  the  smaller  song 
birds. 


FIG.  255.  Two  headed,  bird  shaped  whistle,  with  conventional  decoration  in  black,  lost  color  ware 

8  v  a- 


I  cannot  say  that  the  whistles  were  modeled  and  pitched  with  the 
idea  of  imitating  the  notes  of  particular  birds,  but  it  is  possible  for 
the  practiced  performer  to  reproduce  the  simpler  songs  and  cries  of 
birds  with  a  good  deal  of  accuracy. 

The  human  figure  was  occasionally  utilized.  The  treatment,  how 
ever,  is  extremely  rude  and  conventional,  the  features  having  the 


Fin.  35li.  Whistle  in  grotesque  life  form,  with  decorations  In  blank  and  red.  alligator  ware  —  J. 


HOUIEK.I  LIFK    FORMS    IN    VASK    PAINTING.  171 

peculiar  squirrel-like  character  shown  in  the  figurines  already  given. 
The  unique  piece  given  in  Fig.  250  represents  a  short,  clumsy  female 
figure  with  a  squirrel  face,  carrying  a  vessel  upon  her  back  by  means 
of  a  head  strap,  which  is  held  in  place  by  the  hands.  The  mouth 
piece  of  the  whistle  is  in  the  right  elbow  and  one  sound  hole  is  in 
the  middle  of  the  breast  and  the  other  in  the  left  side.  The  costume 
and  some  of  the  details  of  anatomy  are  indicated  by  red  and  black 
lines  in  the  original.  Its  notes  are  the  same  as  those  presented  with 
Fig.  249. 

LIFE   FORMS    IN    VASE    PAINTING. 

This  section  is  to  be  devoted  to  a  short  study  of  the  decorative  sys 
tem  of  the  ancient  Chiriquians,  and  more  especially  to  a  considera 
tion  of  the  treatment  of  life  forms  in  vase  painting.  Many  of  the 
finest  examples  of  these  designs,  so  far  as  execution  and  effect  in  em 
bellishment  are  concerned,  have  already  been  given  ;  but  it  is  desir 
able  now  to  select  and  arrange  a  series  to  illustrate  origins  and  pro 
cesses  of  growth  or  modification. 

Elements  of  ornament  flow  into  the  ceramic  art  from  a  number  of 
sources,  but  chiefly  in  two  great  currents  :  the  one  from  art,  and  con 
sisting  chiefly  of  technical  or  mechanically  produced  phenomena,  and 
hence  geometric,  and  the  other  from  natxire,  and  carrying  elements 
primarily  deliiieative.  and  hence  non-geometric.  When  once  within 
the  realm  of  decoration  the  various  motives  or  elements  are  subject 
to  modification  by  two  classes  of  influences  or  conditioning  forces  : 
the  technical  restraints  of  the  art  and  the  esthetic  forces  of  the  hu 
man  mind.  Mechanical  and  geometric  elements,  although  born 
within  the  art  or  its  associated  arts,  are  modified  in  the  processes  of 
adaptation  to  the  changing  requirements  and  conditions  of  the  art 
and  through  the  tendency  towards  elaboration  under  the  guidance 
of  the  esthetic  forces ;  left  by  themselves  they  remain,  throughout 
all  changes  of  use  and  modification  of  form,  purely  geometric.  Imi 
tative  elements  tend,  under  the  same  influences,  to  move  in  the  di 
rection  of  the  iinreal  or  geometric.  In  this  way  the  realistic  forms 
imdergo  marked  changes,  gradually  assuming  a  geometric  character 
and  finally  losing  all  semblance  of  nature. 

Now  it  must  be  noted  that  the  decorations  of  any  group  of  art 
products  may  embody  both  classes  of  elements  or  they  may  be  re 
stricted  rather  closely  to  either.  This  fact  enables  us  to  account  for 
many  of  the  strongly  marked  distinctions  observed  in  the  decorative 
systems  of  different  communities,  races,  and  times.  In  a  recent  study 
of  ancient  Pueblo  art  I  traced  the  decoration  to  a  mechanical  origin, 
mainly  in  the  art  of  basketry,  and  thus  accounted  for  its  highly  geo 
metric  character.  Chiriquiaii  art  presents  a  strong  contrast  to  this, 
as  the  great  body  of  elements  are  manifestly  derived  from  nature  by 
delineative  imitation.  It  was  further  observed  in  Pueblo  art  that  as 


ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIQU1. 

time  went  on  life  forms  were  little  by  little  introduced  into  its  decora 
tion  and  that  in  recent  times  they  shared  the  honors  equally  with  the 
primitive  geometric  forms.  In  Chiriquian  art  we  find  but  meager 
traces  of  a  primitive  geometric  system,  and  conclude  that  either  the 
earliest  art  of  the  people  did  not  give  rise  to  such  a  system  or  that 
the  graphic  motives,  entering  gradually  and  steadily  multiplying, 
supplanted  the  archaic  forms,  finally  usurping  nearly  the  entire  field. 
As  noticed  in  the  preceding  sections,  there  is  always  a  certain  amount 
of  geometricity  in  the  arrangement  and  the  enframing  of  the  designs, 
as  well  as  a  certain  degree  of  convention  in  the  treatment  of  even  the 
most  graphic  motives;  but  these  characters  may  be  due  to  the  restrain 
ing  conditions  of  the  art.  rather  than  to  the  survival  of  original  or 
ancestral  features  or  characters. 

In  beginning  the  study  of  Chiriquian  decorative  art  I  found  it 
impossible  to  approach  the  subject  advantageously  from  the  geo 
metric  side,  as  was  done  in  the  Pueblo  study,  since  life  elements  so 
thoroughly  permeate  every  part  of  it.  I  have,  therefore,  turned 
about,  and  in  the  following  study  present  first  the  more  realistic- 
delineations  of  nature,  arranging  long  series  of  derivative  shapes 
which  descend  through  increasing  degrees  of  convention  to  purely 
geometric  forms.  These  remarks  relate  wholly  to  the  plan  or  linear 
arrangement  of  the  motives. 

As  to  method  of  realization,  ceramic  ornament  may  be  arranged 
in  two  classes:  the  plastic,  or  relieved  and  the  non-plastic  or  flat. 
Life  forms  are  freely  rendered  by  both  plastic  and  non-plastic 
methods,  and  in  either  style  may  range  from  the  highly  realistic  to 
the  purely  geometric.  As  shown  in  a  preceding  section,  plastic  life 
forms  in  Chiriquian  art  appear  to  have  been  subject  to  two  divergent 
lines  of  thought,  the  one  trivial  and  the  other  serious.  Through  the 
one  we  have  grotesque  and  perhaps  even  humorous  representations 
of  men  and  of  animals.  The  figures  are  attached  to  the  vessels  for  the 
purpose  —  perhaps  for  the  exclusive  purpose  —  of  embellishment,  and 
often  with  excellent  success,  as  judged  by  our  own  standards  of  taste. 
The  other  deals  with  plastic  representations  apparently  of  a  serious 
nature,  although  utilized  also  for  embellishment.  The  animal  forms 
employed  are  treated  in  a  way  to  suggest  that  in  the  mind  of  the 
artist  the  creature  bore  a  definite  relation  to  the  vessel  or  its  use,  a 
relationship  originating  in  superstition  and  preserved  throughout  all 
changes  of  form.  Their  office  was  symbolic,  and  this  office  was  prob 
ably  not  always  lost  sight  of  by  the  potter,  even  though,  through  tin- 
forces  of  convention,  the  animal  shapes  were  reduced  to  mere  knobs, 
ridges,  or  even  to  painted  devices. 

In  color  delineations,  although  the  same  subjects  are  to  a  great  ex 
tent  employed,  there  is  necessarily  greater  constraint  —  there  is  less 
freedom  as  well  as  less  vigor  in  the  presentation  of  natural  forms. 
There  is  apparently  no  attempt  at  the  grotesque  or  amusing.  The 


I, IKK    KOKMS    IX    VASK    I'AIXTINU. 


IT;; 


variants  are  practically  infinite.     The  work  is  more  purely  decorative 

and  is  perhaps  loss  subject  to  the  restraints  of  associated  ideas  and  of 
use  with  particular  vessels  or  in  definite  relations  to  other  features  of 
I  he  vessel.  At  the  same  time  it  is  manifest  that  these  painted  figures 
are  not  all  merely  meaningless  decorations,  but  that  many,  through 
out  all  degrees  of  modification,  refer  with  greater  or  less  clearness 
1o  natural  originals,  to  ideas  associated  with  these  originals,  or  to 
the  relationship  of  these  originals  to  the  vessel  and  its  uses. 

It  is  cleai'.  however,  that  a  considerable  body  of  nature-derived 
elements,  plastic  and  painted,  are  employed  as  simple  embellishments, 
having  no  other  function.  This  suggests  the  separation  of  all  decora 
tions  into  two  grand  divisions,  based  upon  the  kind  of  thoughts  asso 
ciated  with  them.  These  divisions  may  be  designated  as  significant 
and  non-significant,  the  term  significant  referring  not  to  the  mere 
identification  of  a  device  with  an  original  form  or  to  its  office  as  an 
ornament,  but  to  its  symbolism,  to  its  mystic  relation  with  the  vessel 
and  its  uses.  But  I  have  to  do  here  with  the  forms  taken  by  motives, 
with  their  morphology  rather  than  with  their  signification,  as  the 
latter  must,  with  reference  to  archeeologic  material,  remain  greatly 
speculative. 

In  the  application  of  life  forms  in  vase  painting  several  classes  of 
modifying  and  constraining  agencies  of  a  technical  nature  are  pres 
ent,  and  the  following  examples  are  grouped  with  the  idea  of  defining 
these  (-lasses  of  forces  and  keeping  them  in  a  measure  distinct. 

Of  all  the  animal  forms  utilized  by  the  Chiriquians  the  alligator 
is  the  best  suited  to  the  purpose  of  this  study,  as  it  is  presented  most 
frequently  and  in  the  most  varied  forms.  In  Figs.  •.>.">?  and  258  I  re- 


Fin.  •£•,'! .  Graphic  delineation  of  the  alligator,  from  a  vase  of  the  lost  color  group. 


Fin.  25H.  Graphic  delineation  of  the  alligator,  from  a  vase  of  the  lost  color  group. 

produce  drawings  from  the  outer  surface  of  a  tripod  bowl  of  the  lost 
color  group.     Simple  and  formal  aa  these  figures  are,  the  character- 


174  AXCIEXT    AKT    OF    THE    PKOVIXCK    OK    CHIKIQUI. 

istic  features  of  the  creature — the  sinuous  body,  the  strong  jaws,  the 
upturned  snout,  the  feet,  and  the  scales  —  are  forcibly  expressed.  It 
is  not  to  be  assumed  that  these  examples  represent  the  best  delineative 
skill  of  the  Chiriquian  artist.  The  native  painter  must  have  exe 
cuted  very  much  superior  work  upon  the  more  usual  delineating  sur 
faces,  such  as  bark  and  skins.  The  examples  here  shown  have  already 
experienced  decided  changes  through  the  constraints  of  the  ceramic 
art,  but  are  the  most  graphic  delineations  preserved  to  us.  They 
are  free  hand  products,  executed  by  mere  decorators,  perhaps  by 
women,  who  were  servile  copyists  of  the  forms  employed  by  those 
skilled  in  sacred  art. 


Fio.  259    Conventional  alligator,  from  the  lost  color  ware. 

A  third  illustration  from  the  same  group  of  ware,  given  in  Fig.  259, 
shows,  in  some  respects,  a  higher  degree  of  convention.  The  scales 
are  here  represented  by  triangular  dentals,  which  occupy  the  entire 


FIG.  SWi.  Style  of  convention  in  the  alligator  group  of  ware. 


Fio.  861.  Style  of  convention  in  tlie  alligator  group  of  ware. 

length  of  the  back.     These  dentals  are  /illed  with  the  round  dots 
that  stand  singly  in  the  preceding  cases. 


LIKK    FORMS     IX    VASE    I'AIXTIXti. 


176 


In  another  class  uf  ware  —  the  alligator  group  —  the  treatment  is 
quite  different,  being  decidedly  more  clumsy  and  realized  by  distinct 
processes  ;  but  prominence  is  given  to  a  number  of  corresponding 
features.  The  strong  curve  of  the  back,  the  dentals  and  dots,  and 
the  muzzle  and  mouth  refer  apparently  to  the  same  creature.  The 
curiously  marked  panel  in  the  body  of  the  lasf  example  is  a  unique 
feature,  which  appears,  however,  in  a  few  other  cases. 

These  drawings  occur  upon  the  sides  of  vases,  .alternating  witli  the 
plastic  features,  and  arc  perhaps  generally  associated  with  such 
features  in  the  expression  of  some  mythical  idea. 

The  modeled  creature  is  often  represented  with  two  heads  instead 
of  with  a  head  and  a  tail,  and  the  painted  forms,  in  many  cases,  ex 
hibit  the  same  peculiarity  as  shown  in  Fig.  202.  I  surmise  that  the 
employment  of  two  heads  arises  from  the  need  of  securing  perfect 
balance  of  parts  rather  than  as  an  original  product  of  the  imagination. 

It  will  be  interesting,  as  additional  examples  are  presented,  to  note 
the  effect  of  modification  upon  particular  features  of  the  animal,  to 
observe  how  some  come  into  prominence,  representing  the  creature 
and  the  idea,  while  others  fall  into  disuse  and  disappear.  In  nature 
the  line  of  the  body  is  perhaps  the  most  strongly  characteristic  feature, 


Fin.  SHS.  Two  headed  form  of  the  allii;<»"<'- 

and  it  is  in  art  the  most  persistent.  It  survives  in  tlie  steins  <>f  many 
conventional  devices  from  which  all  other  suggestions  of  the  animal 
have  vanished. 

The  following  examples  depart  still  further  from  nature,  approach 
ing  the  border  line  between  the  distinctly  imitative  and  the  purely 
conventional  or  geometric  phases.  In  the  first  (Fig.  •-><•:$)  all  the  lead 
ing  features  are  recognizable,  but  are  very  much  simplified.  The 


FIG.  "Ai3.  Figure  of  the  alligator  much  simplified. 


ANCIENT  ART  OF  THK  PROVINCE  OF 


jaws  are  without  teeth,  the  head  is  without  eyes,  and  the  body  without 
indication  of  scales.  The  other  example  (Fig.  '^(i4)  is  of  a  somewhat 
different  type  and  may  possibly  refer  to  some  other  reptilian  form. 


FIG.  2<>4.  The  alligator  much  modified  by  ceramic  influences. 

but  many  links  connecting  the  two  are  found.  The  shape  is  more 
angular  and  is  a  step  further  removed  from  nature.  From  shapes  as 
conventional  as  this  we  drop  readily  into  purely  geometric  forms,  as 
will  be  seen  further  011.  These  and  the  preceding  drawings  are  all 
executed  on  broad  surfaces,  where  fancy  could  have  free  play.  The 
modifying  or  conventionalizing  forces  are.  therefore,  quite  vague. 
Variation  from  natural  forms  is  due  partly  to  a  lack  of  skill  on  the 
part  of  the  painter,  partly  to  the  peculiar  demands  of  ceramic  em 
bellishment,  and  partly  to  the  traditional  style  of  treatment  acquired . 
in  still  more  primitive  stages  of  culture  and  in  other  and  unidentified 
brandies  of  art. 

I  shall  now  call  attention  to  some  important  individualized  or  well 
defined  agencies  of  convention.  First,  and  most  potent,  may  be  men 
tioned  the  enforced  limits  of  the  spaces  to  be  decorated,  which  spaces 
take  shape  independently  of  the  subject  to  be  inserted.  When  the 
figures  must  occupy  a  narrow  zone  they  are  elongated,  when  they 
must  occupy  a  square  they  are  restricted  longitudinally,  and  when 
they  must  occupy  a  circle  they  are  of  necessity  coiled  up.  Fig.  .265 


FIU.  sii.1. 


FIG.  3fi6. 


Km.  SB;. 

lllistrations  of  the  influence  of  the  shape  of  spaces  IIIHHI  the  delineation  of  animal  forms. 


LIFE    FOKMS    IN    VASE   PAINTINCJ. 


177 


illustrates  the  effect  produced  by  crowding  the  oblong  figure  into  a 
short  rectangular  space.  The  head  is  turned  back  over  the  body  and 
the  tail  is  thrown  down  along  the  side  of  the  space.  In  Fig.  200  the 
iigure  occupies  a.  circle,  and  is  in  consequence  closely  coiled  up,  giv 
ing  the  effect  of  a  serpent  rather  than  an  alligator.  In  Fig.  207  the 
space  is  semicircular,  and  we  observe  peculiar  conventional  condi- 


KKI.  ~1iH.  Hi-lini-aiioii  retaining  but  slight  traces  at  the  life  form. 

lions,  some  of  which  may  be  due  to  other  causes.  For  example, 
such  spaces  may  originally  have  been  filled  with  purely  geometric 
figures,  which  tended  to  impart  their  own  characters  to  the  life  forms 
that  supplanted  them. 


FIG.  2tiO.  Delineation  retaining  but  slight  traces  of  the  life  form. 

Now,  it  often  happens  that,  as  in  the  last  example  given,  the  ani- 
mal  form,  literally  rendered,  does  not  fill  the  panels  satisfactorily. 
The  head  and  the  tail  do  not  correspond  and  there  is  a  lack  of  bal 
ance.  In  such  cases  two  heads  have  been  preferred.  The  body  is 
given  a  uniform  double  curve  and  the  heads  are  turned  down,  as 
shown  in  Figs.  208  and  200,  or  one  may  turn  up  and  the  other  down, 
as  seen  in  Fig.  270.  The  two  headed  form  may  also  arise  from  imi- 


Fio.  270.  Delineation  retaining  but  slight  traces  of  the  life  form. 

tat  ion  of  plastic  forms,  as  1  have  already  shown.     The  example  given 

<!  ETH 12 


ITS  ANCIENT   AKT   OF   THE   PROVINCE   OF   CHIKIQUI. 

in  Fig.  20H  is  extremely  interesting  on  account  of  its  complexity  and 
the  novel  treatment  of  the  various  features.  The  two  feet  are  placed 
close  together  near  the  middle  of  the  curved  body,  and  on  either  side 
of  these  are  the  under  jaws  turned  back  and  armed  with  dental  pro 
jections  for  teeth.  The  characteristic  scale  symbols  occur  at  inter 
vals  along  the  back;  and  very  curiously  at  one  place,  where  there  is 
scant  room,  simple  dots  are  employed,  showing  the  identity  of  these 
two  characters.  Some  curious  auxiliary  devices,  the  origin  of  which 
is  obscure,  are  used  to  fill  in  marginal  spaces.  The  shape  given  in  Fig. 
20!)  is  so  highly  modified  that  it  is  not  recognizable  as  an  animal  form, 
excepting  through  a  series  of  links  connecting  it  with  more  realistic 
delineations.  It  is  perfectly  symmetrical  and  consists  of  a  compound 
curve  for  the  body,  with  hooks  at  the  extremities  and  two  appended 
hooks  for  legs.  The  spots  symbolizing  the  scales  are  here  placed 
within  the  body,  showing  another  step  toward  complete  annihilation 
of  the  natural  forms  and  relations.  Three  additional  examples,  show 
ing  still  higher  degrees  of  convention,  are  presented  in  Figs.  271.  272, 
and  2?.').  The  series  could  be  filled  up  and  continued  indefinitely, 


FIG.  27'1.  Highly  conventionalized  alligator  derivative. 


FIG.  372.  Highly  conventionalized  alii-  FIG.  273.  Highly  conventionalized  alli 

gator  derivative.  gator  derivative. 

connecting  the  whole  family  of  devices  in  which  dentals,  hooks,  spots, 
and  circles  occur  with  the  alligator  radical  or  with  other  reptilian 
forms  confused  with  the  alligator  through  the  carelessness  or  igno 
rance  of  the  decorator. 

In  looking  over  a  large  series  of  the  vases  it  will  be  seen  that  the 
tendency  of  decoration  is  toward  the  zonal  arrangement,  the  spaces 


IIOI,MKS.]  LIFE   FORMS    IN    VASE    PAINTING.  1  70 

being  narrow  and  long,  even  when  divided  into  the  usual  number  of 
panels.  As  a  consequence  the  motives  tend  to  take  linear  forms. 
Parts  are  repeated  or  greatly  drawn  out  to  fill  the  spaces.  This 
phase  of  conventional  evolution  may  be  illustrated  by  a  multitude  of 
examples. 


FIG.  2T4.  Series  of  forms  showing  modification  through  use  in  mil  row  zones. 

Beginning  with  an  ordinary  form  in  Fig.  ^7"4,  a.  we  advance  under 
the  restraint  of  parallel  border  lines  through  the  series,  ending  in  a 
simple  meander, /,  the  spaces  about  which  are.  however,  filled  out 
with  the  conventional  scale  symbols,  the  triangles  inclosing  dots. 
Thus  we  witness  the  transformation  of  the  life  form  into  a  linear 
device,  in  which  the  flexures  of  the  body  are  emphasized  and  mul 
tiplied  without  reference  to  nature,  and  there  is  little  doubt  that  the 
series  continues  further,  ending  with  simple  curved  lines  and  even 
with  straight  lines  unaccompanied  by  auxiliary  devices. 

Next  to  the  body  line  the  most  important  of  the  alligator  deriva 
tives  is  the  notched  or  dotted  hook,  which  in  the  lost  color  group 
stands  sometimes  for  the  whole  creature,  but  more  frequently  for 
one  or  more  of  the  members  of  its  body,  the  snout,  the  tail,  or 
the  feet.  It  is  employed  singly  or  in  various  arrangements  suited  to 


FIG.  275.  Running  ornaments  oonpOBOd  of  life  elements. 

the  shape  of  the  spaces  to  be  filled  or  occurs  in  connection  with 
the  body  line  or  stem,  where,  by  systematic  repetition,  it  serves  to 
fill  the  triangular  interspaces.  Take,  for  example,  an  ornament 
(Fig.  275)  which  encircles  the  shoulder  of  a  handsome  vase  of  the 


180 


ANCIENT  AKT  OK  THE  PROVINCE  OK 


lost  color  group.      The  space  is   neatly  filled  with  „._„,,— 0~   in 
which  the  simple  life  coil  elements  are  joined  one  to  another  in 


FIG.  '-?TO.  Running  ornaments  composed  of  life  motives. 

such  a  way  as  to  give  somewhat  the  effect  of  an  ordinary  running 
ornament.  The  same  motive  takes  a  different  form  in  Fig.  276, 
which  is  part  of  the  decorated  zone  of  an  earthen  drum  (see  Fig. 
235).  Here  the  body  of  the  creature  is  represented  by  a  wide  me 
andered  line,  and  to  this  the  notched  or  scalloped  hooks  are  attached 
with  perfect  regularity,  one  to  each  angle  of  the  meandered  body. 
In  other  examples  the  angular  geometric  character  extends  to  every 
part  of  the  detail  and  the  curved  hooks  lose  their  last  suggestion  of 
nature  and  are  entirely  dropped  or  used  separately. 

The  rings,  strokes,  spots,  and  dentate  figures  that  serve  to  repre 
sent  the  markings  and  scales  of  the  reptile  are  among  the  most  im 
portant  of  the  derivative  devices  and  occur  in  varied  relations  to 
other  classes  of  derivatives.  They  also  occur  independently,  either 
singly  or  in  groupings.  Thus  we  see  that  the  alligator,  in  Chiriquian 
vase  painting,  is  represented  by  an  endless  list  of  devices,  and  it  is 
interesting  to  note  that  among  these  are  several  figures  familiar  to 
the  civilized  world  in  both  symbolism  and  ornament. 

I  present  five  series  of  figures  designed  to  illustrate  the  stages 
through  which  life  forms  pass  in  descending  from  the  realistic  to 
highly  specialized  conventional  shapes.  In  the  first  series  (Fig.  277), 
we  begin  with  a  meager  but  graphic  sketch  of  the  alligator;  the 


a  bed 

FIG.  277.  Series  of  derivatives  of  the  alligator  showing  stages  of  simplification. 

second  figure  is  hardly  less  characteristic,  but  is  much  simplified;  in 
the  third  we  have  still  three  leading  features  of  the  creature:  the 
body  line,  the  spots,  and  the  stroke  at  the  back  of  the  head;  and  in 
the  fourth  nothing  remains  but  a  compound,  yoke-like  curve,  stand 
ing  for  the  body  of  the  creature,  and  a  single  dot. 

The  figures  of  the  second  series  (Fig.  278)  are  nearly  all  painted 
upon  low  round  nodes  placed  about  the  body  of  the  alligator  vases 
and  hence  are  inclosed  in  circles  (see  Fig.  197).  The  animal  figure 


1,IFE    FORMS    IN    TASK    I'AINTINK. 


181 


iu  the  first  example  is  coiled  up  like  a  serpent,  but  still  preserves 
some  of  the  well  known  characters  of  the  alligator.  In  the  sec 
ond  example  we  have  a  double  hook  near  the  center  of  the  space 
\vhich  takes  the  place  of  the  body,  but  the  dotted  triangles  are 
placed  separately  against  the  encircling  line.  In  he  next  figure 
the  body  symbol  is  omitted  and  the  three  triangles  remain  to  rep 
resent  the  animal.  In  the  fourth  there  are  four  triangles,  and  the 
body  device,  being  restored  in  red.  takes  the  form-of  a  cross.  In  the 


Fio.  278.  Scrips  RhcAvinp  stages  in  tlic  simplification  of  animal  characters. 

fifth  two  of  the  inclosing  triangles  are  omitted  and  the  idea  is  pre 
served  by  the  simple  dots.  In  the  sixth  the  dots  are  placed  within 
the  bars  of  the  cross,  the  triangles  becoming  mere  interspaces  ;  and 
in  the  seventh  the  dots  form  a  line  between  the  two  encircling  lines. 
Tliis  series  could  be  filled  up  by  other  examples,  thus  showing  by 
what  infinitesimal  steps  the  transformations  take  place.  The  round 
nodes  upon  which  these  medallion-like  figures  are  drawn  are  survivals 
of  the  heads  or  other  parts  of  animals  originally  modeled  in  the  round, 
but  in  the  processes  of  manufacture  partially  or  wholly  atrophied.  It 
was  sought  to  preserve  the  idea  of  the  creature  by  the  use  of  painted 
details,  but  these,  as  we  have  seen,  were  also  in  time  reduced  to  formal 
marks,  symbols  doubtless  in  many  cases  of  the  conception  to  which 
the  original  plastic  form  referred. 

The  derivation  of  the  fret  and  scroll  —  most  admired  of  the  decora 
tive  motives  of  numerous  races  —  has  been  a  fruitful  source  of  dis 
cussion.  The  vase  painting  of  Chiriqui  serves  to  throw  new  light 
upon  the  subject.  We  learn,  by  the  series  of  steps  illustrated  in  the 
annexed  cuts  that  the  alligator  radical,  under  peciiliar  restraints  and 
influences,  assumes  conventional  forms  that  merge  imperceptibly 
into  these  classic  devices.  In  the  third  series  given  (Fig.  279)  the  first 
figure  is  far  removed  from  the  realistic  stage  of  representation,  but  it 
is  one  of  the  ordinary  conventional  guises  of  the  alligator.  Other 
still  more  conventional  forms  are  seen  in  the  three  succeeding  figures, 
the  last  of  which  is  a  typical  rectangular  fret  link  known  and  used 
bv  most  nations  of  moderate  culture.  The  derivatives  in  nearlv  all 


182 


ANCIENT    ART    OP    THE    PROVINCE    OF    CHIRIQTJI. 


the  preceding  figures  can  be  traced  back  to  the  body  of  the  creature 
as  a  root,  but  there  are  many  examples  which  seem  to  have  come  from 
the  delineation  of  a  part  of  the  creature,  as  the  head,  foot,  eye.  or 


\ 


FIG.  2T!1.  The  scroll  and  fret  derived  from  the  body  line  of  the  alligator. 

scales  —  abbreviated  representatives  of  the  whole  creature.  Such 
parts,  assuming  the  role  of  radicals,  pass  also  through  a  series  of  mod 
ifications,  ending  in  purely  geometric  devices  in  the  manner  indi 
cated  in  the  following  or  fourth  series  of  examples  (Fig.  280).  In  the 
first  cut  we  have  what  appears  to  be  the  leg  and  foot  of  the  favorite 
reptile,  and  following  this  are  other  forms  that  seem  to  refer  to  the 


FIG.  380.  Devices  derived  from  drawings  of  parts  of  the  life  form. 

same  feature.  Additional  examples  are  shown  in  Figs.  281  and  282, 
which,  while  they  doubtless  arose  more  or  less  directly  from  the  life 
form,  are  not  so  readily  traceable  through  less  conventional  antece 
dents.  The  first  forms  part  of  the  incised  ornament  of  a  small  vase 
or  iieedlecase  and  the  second  is  a  section  of  the  zonal  ornament  of 
the  tripod  cup  illustrated  in  Fig.  203,  by  reference  to  which  it  will  be 


FIG.  381.  Devices  incised  in  a 
iieedlecase. 


FIG.  282.  Devices  representing 
the  markings  of  a  reptile's  body. 


seen  that  the  zone  of  devices  serves  to  connect  the  head  and  the  tail 
of  the  reptile,  which  are  modeled  as  a  part  of  the  vase  ;  the  devices 


Hnl.MKS.l 


L.IFK    FORMS    IN    VASE    I'AIXTING. 


therefore  represent  tlie  markings  of  the  creature's  body,  although  they 
may  originally  have  been  derived  from  the  figure  of  the  whole  or  a 
part  of  the  animal  rather  than  from  the  markings  of  the  skin.  In 
other  examples  still  more  highly  conventional  figures  are  found  to 
hold  the  same  relation  to  the  plastic  representation  of  the  extremities 
of  the  creature.  They  include  the  meander,  the  scroll,  the  fret,  and 
the  guilloche.  We  find  that  in  the  stone  metates  of  many  parts  of 
Central  America,  nearly  all  of  which  are  carved  to  imitate  the  puma, 
the  head  and  tail  of  the  creature  are  connected  by  bands  of  similar 
devices  that  encircle  the  margin  of  the  mealing  plate  (see  Fig.  9). 
The  alligator  form  is  therefore  not  necessarily  the  originator  of  all  such 
devices.  It  is  probable  that  any  animal  form  extensively  used  by  such 
lovers  of  decoration  as  the  ancient  inhabitants  of  Central  America 
would  be  found  thus  interwoven  with  decoration.  These  considera 
tions  will  serve  to  widen  our  views  upon  the  origin  and  development 
of  especial  devices.  As  it  now  stands  we  are  absolutely  certain  that 
no  race,  no  art,  no  motive  or  element  in  nature  or  in  art  can  claim  the 
exclusive  origination  of  any  one  of  the  well  known  or  standard  con 
ventional  devices,  and  that  any  race,  art,  or  individual  motive  is  capable 
of  giving  rise  to  any  and  to  all  such  devices.  Nothing  can  be  more 
absurd  than  to  suppose  that  the  signification  or  symbolism  attaching 
to  a  given  form  is  uniform  the  world  over,  as  the  ideas  associated  with 
each  must  vary  with  the  channels  through  which  they  were  developed. 
( Hlier  classes  of  geometric  figures,  derived  chiefly  from  scale  or  skin 
markings,  are  given  in  the  fifth  series.  In  more  realistic  phases  of  rep- 


< 


,1  e  f  a 

Fio.  283.  Conventional  figures  derived  from  the  markings  of  the  bodies  of  animals. 

resentation  the  dentate  and  dotted  devices  are  ranged  along  the  body 
of  the  creature,  as  in  nature,  but  as  convention  progresses  they  are 
used  independently  to  fill  up  spaces,  to  form  the  septa  of  panels,  &c. 
Many  illustrations  appear  in  the  preceding  pages  and  additional  ex 
amples  are  given  in  Fig.  2S3.  It  is  possible  that  these  devices  come 
from  delineations  of  a  number  of  distinct  animal  forms  :  but  in  the 
higher  stages  of  convention  confusion  cannot  be  avoided,  and  must 
have  existed  to  some  extent  in  the  mind  of  the  decorator  :  they  serve, 
however,  to  illustrate  the  stages  of  simplification  through  which  all 
forms  extensively  used  for  a  long  period  must  pass.  The  laws  of 
derivation,  modification,  and  application  in  art  are  the  same  in  all. 


184  ANCIENT    ART    OF    THE    PROVINCE    OF    CHIRIOUT. 

It  has  now  been  shown  that  life  forms  and  their  varied  derivatives 
constitute  the  great  body  of  Chiriqnian  decorative  motives;  that 
Avhen  first  introduced  the  delineations  are  more  or  less  realistic,  ac 
cording  to  the  skill  of  the  artist  or  the  demands  of  the  art ;  but  that 
in  time,  by  a  long  series  of  abbreviations  and  alterations,  they  de 
scend  to  simple  geometric  forms  in  which  all  visible  connection  with 
the  originals  is  lost.  The  agencies  through  which  this  result  is  accom 
plished  are  chiefly  the  mechanical  restraints  of  the  art  acting  inde 
pendently  of  voluntary  modification  and  without  direct  exercise  of 
esthetic  desire. 

There  maybe  forces  at  work  of  which  we  find  no  clear  indications. 
Some  of  the  conventional  forms  into  which  life  forms  are  found  to 
grade  may  be  survivals  of  forms  originating  in  other  regions  and 
belonging  to  other  cultures  which  have  through  accidents  of  contact 
imposed  themselves  upon  Chiriquian  art ;  such  are  the  scroll,  the 
fret,  and  the  guilloche  ;  but  the  thorough  manner  in  which  such  forms 
are  interwoven  with  purely  Chiriqiiian  conceptions  makes  it  impos 
sible  to  substantiate  such  a  theory.  The  conchision  most  easily  and 
most  naturally  reached  is  that  all  are  probably  indigenous  to  Chiriqui, 
and  hence  the  striking  deduction  that  the  processes  of  modification 
inherent  in  the  art  are  of  such  a  nature  that  any  animal  form  ex 
tensively  used  in  decoration  may  give  rise  to  any  or  all  of  the 
hialtly  conventional  forms  of  ornament. 

During  the  progress  of  this  study  a  question  has  frequently  been 
raised  as  to  the  extent  to  which  tjie  memory  of  the  creature  original 
or  of  its  symbolism  in  first  use  was  kept  alive  in  the  mind  of  the 
decorator.  It  is  a  well  established  fact  that  primitive  peoples  habit 
ually  invest  inanimate  objects  with  the  attributes  of  living  creatures. 
Thus  the  vessel,  from  the  time  it  assumes  individual  shape  and  is 
fitted  to  perform  a  function,  is  thought  of  as  a  living  being,  and  by 
the  addition  of  plastic  or  painted  details  it  becomes  a  particular 
creature,  an  alligator,  a  fish,  or  a  puma,  each  of  which  is  in  most 
cases  the  symbol  of  some  mythologic  concept.  When,  through  the 
changes  of  convention  in  infinite  repetition,  all  resemblance  to  indi 
vidual  creatures  was  lost  and  mere  knobs  or  simple  geometric  figures 
occupied  the  surface  of  the  vessel,  there  is  little  doubt  that  many  of 
these  features  still  recalled  to  the  mind  of  the  potter  the  ultimate 
originals  and  the  conceptions  of  which  they  were  the  representatives, 
and  that  others  represented  ideas,  the  outgrowth  of  or  a  development 
from  primary  ideas,  while  still  others  had  acquired  entirely  new  ideas 
from  without.  It  cannot  be  denied,  however,  that  there  does  come  a 
time  in  the  history  of  vase  painting  at  which  such  associated  ideas 
become  vague  and  are  lost  and  elements  formerly  significant  are  added 
and  combinations  of  them  are  made  for  embellishment  alone,  without 
reference  to  meaning  or  appropriateness;  but  I  am  inclined  to  place 
this  period  a  very  long  way  from  the  initiatory  stages  of  the  art.  It 


HOI.MKS.] 


LIFE    FORMS    I\    OTHER    ARTS. 


185 


may  not  be  possible  to  find  evidence  of  the  arrival  of  this  period, 
as  it  is  not  necessarily  marked  by  any  loss  of  unity  or  consistency  — 
striking  characteristics  of  ancient  American  art;  for  such  is  the  con 
servatism  of  indigenous  methods  that,  unless  there  be  forcible  in 
trusion  of  exotic  art,  original  forms  and  groupings  may  be  perpetu 
ated  indefinitely  and  remain  much  the  same  in  appearance  after  the 
associated  ideas  are  modified  or  lost. 

In  our  study  of  the  forms  and  meanings  of  these  devices  it  should 
IK  it  be  forgotten  that  collateral  branches  of  art  are  also  simultaneously 
employing  the  same  motives  and  reducing  them  through  other  sim 
ilar  classes  of  conventionalizing  forces  to  corresponding  forms.  Re 
cording  arts —  pictography,  hieroglyphic  and  phonetic  writing — carry 
life  forms  through  all  degrees  of  abbreviation  and  change,  and  all 
ceremonial  and  all  domestic  arts  with  which  such  forms  are  associated 
do  the  same;  and  it  is  not  impossible  that  many  conventional  forms 
found  upon  pottery  are  borrowed  outright  from  the  other  arts.  It 
will  be  impossible  to  detect  these  borrowed  elements  unless  very  liter 
ally  transferred  from  some  art  the  style  of  which  is  well  known.  It 
would  be  comparatively  easy  to  identify  literal  borrowings  from  pho 
netic  art  or  even  from  hieroglyphic  art,  as  the  form  and  arrangement 
of  the  devices  are  quite  unlike  those  observed  in  pure  decoration. 
We  do  not  know  that  Chiriquian  culture  had  achieved  a  hieroglyphic 
or  a  phonetic  system  of  writing,  but  it  is  worth  while  to  call  atten 
tion  to  the  form  and  the  manner  of  employment  of  some  of  the  de- 


Fio.  2H4.  Vase  with  decorated  none  containing  remart\aole  devices — $. 


Km.  3H5.  Series  of  twelve  conventional  devices  from  the  decorated  zone  of  a  vase. 

vices  found  upon  the  pottery.  In  Fig.  284 1  present  an  outline  draw 
ing  of  a  vase,  the  shoulder  of  which  is  encircled  by  a  broad  zone  of 
decoration.  This  zone  is  divided  into  panels  by  oblique  lines.  A 
row  of  rectangular  compartments  extends  along  the  middle  of  the 
band  and  rows  of  triangular  spaces  occur  at  the  sides.  Each  space  is 


186  ANCIENT    ART    OF    THE    PROVINCE    OP    CHIRIQUI. 

occupied  by  a  device  having  one  or  more  features  suggesting  a  pictorial 
original  and  doubtless  derived  from  one.  In  the  main  row  there  are 
twelve  figures,  no  two  of  which  are  identical.  Although  we  are  unable 
to  show  that  any  of  these  characters  had  other  than  a  purely  decora 
tive  use,  we  see  how  richly  the  ancient  peoples  were  supplied,  through 
the  conventionalizing  agencies  of  the  art.  with  devices  that  could 
have  been  employed  as  ideograms  and  letters  where  such  were  needed. 
and  devices,  too,  that,  from  their  derivation  and  use  in  the  art,  must 
in  most  cases  have  had  ideas  associated  with  them. 

RESUME. 

A  brief  summary  of  the  more  salient  points  of  interest  dwelt  upon 
in  this  paper  may  very  appropriately  be  given  in  this  place.  We 
find  that  a  limited  area  —  a  small  and  obscure  province  of  the  isth 
mian  region  —  possesses  a  wonderful  wealth  of  art  products  the  char 
acter  of  which  indicates  a  long  period  of  occupation  by  peoples  of 
considerable  culture.  The  art  remains  are  perhaps  as  a  whole  infe 
rior  to  those  of  the  districts  to  the  north  and  south,  but  they  possess 
many  features  in  common  with  the  art  of  neighboring  provinces. 
There  is,  however,  at  the  same  time,  a  well  marked  individuality. 
In  conception  and  execution  these  works  are  purely  aboriginal,  and.  so 
far  as  can  be  determined  by  the  data  at  hand,  are  pre-Columbian,  and 
possibly  to  a  great  extent  remotely  pre-Columbian.  The  discovery 
of  articles  of  bronze,  which  metal  we  cannot  prove  to  be  of  indige 
nous  production,  is  the  only  internal  evidence  pointing  toward  the 
continuance  of  the  ancient  epoch  of  culture  into  post-Columbian  times. 
The  relics  are  obtained  from  tombs  from  which  nearly  all  traces 
of  human  remains  have  disappeared. 

Art  in  stone  covers  the  ground  usually  occupied  by  works  in  this 
material  in  other  Central  American  countries,  save  in  the  matter  of 
architecture,  of  which  art  there  are  but  meager  traces.  There  are 
rock  inscriptions,  statuettes  and  statues  of  rather  rude  character, 
shapely  mealing  stones,  elaborately  carved  seats  or  stools,  many  celts 
of  extremely  neat  workmanship,  spear  and  arrow  points  of  unique 
shape,  and  a  very  few  beads  and  pendent  ornaments.  There  are  ap 
parently  no  traces  of  implements  of  war. 

In  metal  there  are  numerous  and  somewhat  remarkable  works. 
They  are  of  gold,  gold-copper  alloy,  copper,  and  bronze.  The  objects 
are  of  small  size,  rarely  reaching  a  pound  in  weight,  and  they  are 
almost  exclusively  pendent  ornaments.  They  were,  for  the  most 
part,  cast  in  molds,  and  in  nine  cases  out  of  ten  represent  animal  forms. 
A  few  bells  are  found,  all  of  which  are  of  bronze.  Pieces  formed  of 
alloyed  metal  are  usually,  washed  or  plated  with  pure  gold. 

The  great  body  of  relics  are  in  clay,  and  the  workmanship  dis 
played  is  often  admirable.  Vases  are  found  in  great  numbers,  and 


HOLMES. ]  K KS U ME.  1  S  7 

as  a  rule  are  small  ami  shapely,  and  are  so  carefully  and  elaborately 
decorated  as  to  lead  to  the  inference  that  their  oflice  was  in  a  great 
measure  ceremonial.  They  take  a  high  place  among  American  fictile 
products  for  grace  of  form  and  beauty  of  decoration.  There  is  neither 
glaze  nor  evidence  of  the  use  of  a  wheeJ.  Besides  vases  we  have  sev 
eral  other  classes  of  objects,  which  include  grotesque,  toy-like  statu 
ettes,  small,  covered  receptacles  resembling  needlecases,  seat-like  ob 
jects  elaborately  modeled,  spindle  whorls,  and  musical  instruments. 
The  occurrence  of  numerous  specimens  of  the  two  latter  classes  in 
dicates  that  the  arts  of  weaving  and  music  were  assiduously  practiced. 

Au  examination  of  the  esthetic  features  of  the  ceramic  art  has 
proved  exceptionally  instructive.  We  find  much  that  is  worthy  of 
attention  in  the  forms  of  vases  as  well  as  in  the  plastic  or  relieved 
features  of  embellishment,  and  a  still  richer  field  is  opened  by  the 
study  of  the  incised  and  painted  —  the  flat  —  decorations. 

I  have  shown  that  the  elements  of  decoration  flow  into  the  ceramic 
art  chiefly  through  two  channels,  the  one  from  art  and  the  other  from 
nature.  Elements  from  art  are  mainly  of  mechanical  origin,  and 
are,  therefore,  non-imitative  and  geometric.  Elements  from  nature 
imitate  natural  forms,  and  hence  are  primarily  non-geometric.  Ele 
ments  from  art,  being  mechanical,  are  meaningless  or  non-ideographic; 
those  from  natiire  are  in  early  stages  of  art  usually  associated  with 
mythologic  conceptions,  and  hence  are  ideographic.  All  decorations 
may  therefore  have  four  dual  classifications,  as  follows:  First,  with 
reference  to  method  of  realization,  as  plastic  and  flat;  second,  with 
reference  to  derivation,  as  mechanical  and  imitative;  third,  with 
reference  to  plan  of  manifestation,  as  geometric  and  non-geometric ; 
and,  fourth,  with  reference  to  the  association  of  ideas,  as  significant 
and  non-significant. 

I  have  found  that  the  ceramic  art,  having  acquired  the  various  ele 
ments  of  ornament,  carries  them  by  methods  of  its  own  through 
many  strange  mutations  of  form.  The  effect  upon  life  forms  is  of  para 
mount  importance,  as  is  indicated  by  the  following  broad  and  striking 
generalization :  The  agencies  of  modification  inherent  in  the  art  in 
its  practice  are  such  that  any  particular  animal  form  extensively  em 
ployed  in  decoration  is  capable  of  changing  into  or  giving  rise  to  any 
or  to  all  of  the  highly  conventional  decorative  devices  upon  which  our 
leading  ornaments,  such  as  the  meander,  the  scroll,  the  fret,  the  chev 
ron,  and  the  guilloche,  are  based.  It  is  further  seen,  however,  that 
ideographic  elements  are  not  necessarily  restricted  to  decorative  or 
symbolic  functions,  for  the  processes  of  simplification  reduce  them  to 
forms  well  suited  to  employment  in  hieroglyphic  and  even  in  phonetic 
systems  of  expression.  Such  systems  are  probably  made  up  to  a  great 
extent  of  characters  the  conformation  of  which  is  due  to  the  unthink 
ing —  the  mechanical  —  agencies  of  the  various  arts. 


